Summer 2013 - The American Viola Society

JournaloftheAmericanViolaSociety 

Volume29Summer2013OnlineIssue

Primrose 

International Viola 

Competition and Festival 

The 14 th 

January 12–18, 2014 

Las Vegas, Nevada, USA 

at the Historic Fifth Street School 

In collaboration with the: 

Las Vegas Philharmonic 

Nevada School of the Arts 

Las Vegas Office of Cultural Affairs 

Presented by: 

The American Viola Society 

Application deadline: October 1, 2013 

www.primrosecompetition.org

Journal of the American Viola Society 

A publication of the American Viola Society 

Summer 2013 

Volume 29 Online Issue 

p. 3 From the Editor 

Contents 

p. 4 Announcements: In Memoriam ~ PIVA News 

Feature Articles 

p. 10 Impressions from the Lionel Tertis International Viola Competition: Louise 

Lansdown reports from the Isle of Man 

p. 20 Max Bruch’s Double Concerto for Clarinet and Viola: Clarinetist Nicolai 

Pfeffer introduces his new edition of Bruch’s Double Concerto, in an article 

reprinted from the June 2012 issue of The Clarinet 

p. 26 Manuel M. Ponce’s Trio for Violin, Viola, and Cello: In the third of a series of 

articles on Ponce’s chamber music with viola, Jorge Barrón Corvera introduces 

the Trio from 1943 

Departments 

p. 42 Construction and Design: Bryan Lew examines two twentieth-century violas 

that belonged to William Primrose 

p. 50 The Eclectic Violist: Lev Zhurbin chronicles three hectic weeks in April 

p. 64 With Viola in Hand: Tom Tatton chats with the multitalented Tom Hall in the 

first of a two-part interview 

On the Cover: 

Illustration advertising viola accessories, 

from the Rudolph Wurlitzer & Bro. 

Catalogue, nineteenth edition, c. 1888 

(courtesy of Public Library of Cincinnati 

and Hamilton County, Virtual Library)

Editor: David M. Bynog 

Departmental Editors: 

At the Grassroots: Christine Rutledge 

Construction and Design: Andrew Filmer 

The Eclectic Violist: David Wallace 

Fresh Faces: Lembi Veskimets 

In the Studio: Karen Ritscher 

New Music: Daniel Sweaney 

Orchestral Training Forum: Lembi Veskimets 

Recording Reviews: Carlos María Solare 

Retrospective: Tom Tatton 

Student Life: Adam Paul Cordle 

With Viola in Hand: Ann Roggen 

Consultant: 

Dwight Pounds 

AVS National Board of Directors: 

Officers 

Nokuthula Ngwenyama, president (2014) 

Kathryn Steely, president-elect (2014) 

Karin Brown, secretary (2014) 

Michelle Sayles, treasurer (2014) 

Board Members 

David M. Bynog (2014) 

Sally Chisholm (2015) 

Adam Paul Cordle (2015) 

Allyson Dawkins (2015) 

Hillary Herndon (2015) 

Michael Kimber (2014) 

Edward Klorman (2016) 

Kate Lewis (2016) 

Kathryn Plummer (2014) 

Ann Roggen (2014) 

Christine Rutledge (2016) 

Gabriel Taubman (2016) 

Marcus Thompson (2014) 

Shelly Tramposh (2015) 

AVS General Manager 

Madeleine Crouch 

AVS National Office: 

14070 Proton Road, Suite 100 

Dallas, TX 75244 

(972) 233-9107 ext. 204 

The Journal of the American Viola 

Society is published in spring and fall 

and as an online-only issue in summer. 

The American Viola Society was 

founded for the promotion of viola 

performance and research. 

©2013, American Viola Society 

ISSN: 0898-5987 

JAVS welcomes 

articles from its 

readers. Submission 

deadlines are 

December 15 for the 

Spring issue, April 15 

for the Summer 

online issue, and 

August 15 for the Fall 

issue. Send 

submissions to the 

AVS Editorial Office, 

David M. Bynog 

dbynog@rice.edu 

or to 

Madeleine Crouch, 

14070 Proton Rd., 

Suite 100 

Dallas, TX 75244 

The JAVS offers print and web advertising for a receptive and influential readership. 

For advertising rates please contact the AVS National office at info@avsnationaloffice.org

FROM THE EDITOR 

The AVS board has been actively 

involved in a multi-year Strategic 

Planning process. If you have not 

yet read the recent report on the 

status of this process, I hope you 

will take the opportunity to do so 

here. The board is aware that 

many of the AVS’s long-time 

projects have enjoyed great 

success, including the JAVS, the 

Primrose International Viola 

Competition, and American viola 

congresses. But for organizations 

to remain relevant, they must 

evolve to meet the needs of a 

changing world. We have 

implemented several projects in 

recent years, including a new 

Orchestral Excerpts Competition 

and Studio Blog just within the 

past year alone. 

All of the AVS’s projects are 

made possible through the 

generous efforts of many individuals 

who are committed to 

promoting the viola. We 

welcome—and need—the 

involvement of members in our 

many projects, and over the next 

few months we will provide 

additional details about how you 

can become involved in shaping 

the future of the organization. 

Please stay tuned for e-mails 

seeking your input. Of course, 

you can always contact our 

national office at any time with 

suggestions or concerns at: 

info@avsnationaloffice.org; we 

would love to hear from you. 

A great way to get involved in the 

AVS is by serving as an advocate 

to your friends and colleagues. 

Tell your friends about the many 

benefits of membership, or even 

give them a gift membership. 

While several of our projects are 

freely available to the entire 

world, including an active Facebook 

group, free scores, and the 

Studio Blog, none of the AVS’s 

projects could exist without the 

support of our members. And we 

will soon be providing even more 

resources and benefits exclusively 

for AVS members with the 

implementation of a new 

members-only area in the near 

future. 

Speaking of long-time projects, 

please join us in Las Vegas for 

the Primrose Festival, from 

January 16–18, 2014, held in 

conjunction with the thirty-fifthanniversary 

Primrose International 

Viola Competition. Recitals, 

master classes, lectures, wellness 

sessions, and more will be offered 

as well as opportunities to shop 

with vendors for the latest and 

greatest viola merchandise. 

Reasonably priced hotel rooms 

are available at the Golden 

Nugget with activities at the 

Historic Fifth Street School. 

Look for more details soon at: 

http://americanviolasociety.org/co 

mpetitions/primrose/. I hope to 

see you there! 

One of the viola world’s other big 

competitions, the Tertis Competition, 

took place this past March, 

and you can read all about it in 

Louise Lansdown’s article in this 

issue of the JAVS. We are also 

introducing a new department, 

Construction and Design, which 

will examine different aspects of 

lutherie. For the inaugural article, 

Bryan Lew looks at two of 

William Primrose’s twentiethcentury 

violas that are now 

housed at PIVA. Be sure to also 

read elsewhere in this issue about 

a major acquisition at PIVA—a 

portrait of William Primrose— 

that was recently unveiled. 

Two of our feature articles look at 

the viola in diverse combinations. 

Nicolai Pfeffer shares his 

experience in creating a new 

edition of Bruch’s Double 

Concerto for Viola and Clarinet, 

and Jorge Barrón introduces 

Manuel Ponce’s Trio for Violin, 

Viola, and Cello. 

Lastly, we have articles on two 

multitalented musicians: Ljova 

muses on three hectic weeks this 

past spring in our Eclectic Violist 

department, and Tom Tatton 

interviews Tom Hall in our With 

Viola in Hand department. 

Cordially, 

David M. Bynog 

JAVS Editor 

VOLUME 29 SUMMER 2013 ONLINE ISSUE 

3

In Memoriam 

David Schwartz (1916–2013) 

David Schwartz at International Viola Congress 

XVII (photo courtesy of Dwight Pounds) 

David Schwartz (June 18, 1916—June 5, 2013) 

was an American violist and music educator. 

His career spanned orchestral music, chamber 

music, and studio recording, but he is most 

recognized for his chamber music performances 

and recordings with the Yale and Paganini 

Quartets. 

Schwartz was a faculty member at the Yale 

Summer School of Music/Norfolk Chamber 

Music Festival in the 1960s and played in the 

Yale Quartet with violinists Broadus Erle and 

Yoko Matsuda and cellist Aldo Parisot. 

Schwartz studied viola at Curtis Institute under 

teachers Louis Bailly and Max Aronoff and 

joined the Cleveland Orchestra at age twenty. At 

age twenty-three he was promoted by conductor 

Artur Rodziński to Principal Violist. He performed 

and toured with Leopold Stokowski’s 

All-American Youth Orchestra. During World 

War II, he enlisted in the Air Force; in 1943 he 

became lead violist of the Glenn Miller Army 

Air Force Band. After the war he performed 

with the Detroit Symphony under Paul Paray, 

the NBC Staff Orchestra and the NBC 

Symphony Orchestra under Arturo Toscanini, 

and was Principal Violist of the Puerto Rico 

Symphony for its inaugural season under Pablo 

Casals. He also performed solo at Carnegie Hall 

in the early 1960s. 

In his twenties, Schwartz performed with the 

Walden String Quartet (Homer Schmitt, violin; 

Bernard Goodman, violin; Robert Swenson, 

cello) in concert hall and radio broadcast 

chamber music programs. Later he performed 

with the Cremona String Trio. From 1958–1960 

he toured Asia, South America and the United 

States as violist of the Paganini Quartet, based 

out of Los Angeles. 

While teaching viola at Norfolk he joined the 

Yale Quartet, whose first recording was nominated 

in 1967 for a Grammy Award. This 

ensemble is best known for their recordings 

between 1967 and 1971 of the late Beethoven 

quartets. The American Record Guide considered 

the Yale Quartet’s Grammy-nominated 

recording of the Quartet No. 15 in A Minor, for 

example, to be “one of the finest performances 

of a late Beethoven quartet ever to have been 

put on record.” Schwartz has recorded for CRI, 

Kapp Records, and Vanguard Recording 

Society. He has also given world premiere 

performances of pieces by Mel Powell, Arnold 

Franchetti, Richmond Browne, Peter 

Sculthorpe, and Frank Lewin. 


4

Schwartz was faculty member of the Yale 

Summer School of Music/Norfolk Chamber 

Music Festival from 1962 to 1969. He also 

taught numerous master classes in seminar and 

festival programs, including Swarthmore 

College (1959), Coe College (1961), Brigham 

Young University (1959–62 and 1964), the 

University of Hartford (1962–64), the American 

String Teacher’s Association String Seminar, 

Hartford, CT (1965), and the Experimental 

Instrumental Performance Clinic, Sarasota, FL 

(1966–68). In 1970, on the invitation of Mel 

Powell, he moved his family west to accept a 

position as a full-time professor of viola at the 

California Institute of the Arts. He taught there 

for one year before embarking on a career as a 

studio musician. 

Schwartz was Principal Violist in numerous 

motion pictures and recordings. His film credits 

include The Godfather, Jaws, E.T., Close 

Encounters of the Third Kind, and Raiders of 

the Lost Ark, and he served for many years as 

Principal Violist for composer/conductor John 

Williams. He also performed on recordings by 

musicians including Frank Sinatra, Johnny 

Mathis, Bill Evans, Diana Ross and The 

Supremes, Sérgio Mendes, Lionel Richie, and 

John Hiatt. He was five times voted Most 

Valuable Player by the National Academy of 

Recording Arts and Sciences and then received 

the Emeritus MVP award. 

During his later career as a studio musician 

Schwartz also became active as an officer in 

various organizations that support professional 

musicians. He served on the Board of the 

American Federation of Musicians and 

Employer’s Pension Fund, was Treasurer of 

Curtis Alumni Association West, and served as 

Vice President of the Recording Musicians 

Association of Los Angeles. 

~ Courtesy of the Yale School of Music ~ 

Roger Bigley (1943–2013) 

Roger Bigley at International Viola Congress 

XIX (photo courtesy of Dwight Pounds) 

Roger Bigley was born in Gloucester in 1943 

and started having violin lessons when he was 

twelve. He was a member of the Gloucestershire 

Orchestra and for a number of years attended 

the Summer School run by Gloucestershire 

Community Council at Cowley Manor. It was 

there that Watson Forbes persuaded him to 

change from violin to viola. 

In 1962 he accepted a place at the RAM to study 

with Watson Forbes and started playing chamber 

music with Peter Cropper and Bernard 

Gregor-Smith. Stephen Shingles became his 

professor when Watson Forbes left to become 

head of music for the BBC in Glasgow. Sidney 

Griller then became chamber music coach and 

was a major influence on Roger’s student 

quartet. 


5

The quartet was offered a residency at Keele 

University in 1967 and took the name the 

Lindsay String Quartet from Lord Lindsay, the 

founder of the university. They had regular 

coachings from Alexander Moskowsky of 

Hungarian Quartet fame and spent two months 

in the USA working with the Hungarian String 

Quartet. In 1972 they were appointed as resident 

ensemble at Sheffield University, eventually 

moving to Manchester University in 1977. Their 

recordings of the complete Beethoven and 

Bartók string quartets in the mid-1980s won 

many prizes. Roger left the quartet in 1987 and 

was for a short period sub-Principal Violist in 

the BBC Philharmonic Orchestra before 

becoming Assistant Head of Strings at the Royal 

Northern College of Music. 

Roger spent eleven years in his role at the 

RNCM, teaching viola and chamber music, 

helping to run the orchestral program, and 

taking a leading role in the development of the 

college. He was an inspirational and wonderful 

teacher, with a particular love for sound, often 

referring to Tertis’s Essay on the “Beauty of 

Sound” and also the son filé school of practice 

and sound production. Many of Roger’s 

students are in leading positions in chamber 

music groups, orchestras and teaching positions 

around the globe. Roger’s other passions in life 

were steam trains, dogs, and Aston Martin cars, 

in particular the V8—and, of course, viola 

jokes. He had a marvelous sense of humor, even 

insisting for his own funeral that he leave the 

church to the sound of an Aston Martin V8! 

~ Courtesy of John White and Louise Lansdown 


6

PIVA News 

William Primrose Portrait Unveiling 

by Myrna Layton 

Attendees at the portrait unveiling admire the 1955 painting of William Primrose by Randall Davey, 

newly displayed at Primrose International Viola Archive (unless otherwise indicated, all photos 

courtesy of Dwight Pounds) 

Violists and viola enthusiasts met on the 

evening of May 3, 2013, for the unveiling of 

a portrait of William Primrose newly acquired 

by the Primrose International Viola Archive 

(PIVA). 

“Portrait of William Primrose,” oil on wood 

panel, measuring 37 x 50 inches, was painted in 

1955 by American artist Randall Davey, who 

lived and worked in Santa Fe, New Mexico. The 

portrait, along with a much smaller companion 

piece depicting Primrose with an unnamed 

orchestra, had been a part of the collection at the 

Randall Davey Audubon Center in Santa Fe. Its 

existence was brought to the attention of Dr. 

David Dalton by Primrose’s second wife, Alice. 

After a dozen years of sporadic sleuthing and 

searching, Dr. Dalton found the portrait’s home, 

and he met with Carl Beal of the Audubon 

Center, who, along with Davey biographer Kim 

Straus, felt that the portrait of William Primrose 

would be more appropriately placed in the 

archive that bears his name. Karen Stockdale, 

curator of the Davey art collection, which is 

housed on the same site with the late artist’s 

home and atelier, concurred. 

Purchase of the portrait was made possible by 

the Primrose Endowment and the Friends of the 

BYU Library, with generous assistance from 

Primrose students Alan de Veritch, Pamela 

Goldsmith, and Yizhak Schotten, who when 

approached to assist in this endeavor unhesitatingly 

gave support to the cause. 

The evening began with hors d’oeuvres and 

mingling, followed by a short ceremony at 


7

which Dr. David Dalton spoke about the quest 

to find and acquire the portrait. He was assisted 

through photographs by his longtime friend and 

fellow Primrose student, Dr. Dwight Pounds, 

who also had the opportunity to speak briefly. 

Annisija Wallin Hunter reflects on her time 

spent at PIVA 

Graduating viola student Annisija Wallin 

Hunter spoke about benefits that she gained 

from studying and working with the resources 

that are available in the Primrose International 

Viola Archive. She said: 

PIVA is so much more than simply a pile of 

resources. The room itself has a special 

feeling about it—a unique ambiance that’s 

difficult to describe or explain. I think it has 

something to do with all of the remarkable 

people who have visited or spent time in the 

room: Emanuel Vardi, Hellen Callus, Roberto 

Díaz, and others. Perhaps it’s the photographs 

and portraits that look down from the 

walls. Some might find it unnerving to be 

constantly watched by these musicians, but I 

love them. They inspire me. I feel energized 

as I study and work under their gaze. These 

are fellow musicians; people I admire who 

understand and appreciate the time I spend in 

PIVA. I’m sure the magnificent painting of 

Primrose himself will only add to the inspiring, 

almost sacred feeling of the room. 

From left to right: Hilary Dalton Zander and 

Donna Dalton unveil Primrose’s portrait 

Dr. Dalton’s wife, Donna, and daughter, Hilary 

Dalton Zander, unveiled the portrait, and then 

the audience was treated to beautiful viola 

music provided by Dr. Claudine Bigelow, Head 

of Viola Studies at BYU, and her recently 

graduated student Bryan Lew, who will be 

continuing his studies at Indiana University with 

Atar Arad in the fall. They performed excerpts 

from Béla Bartók’s 44 Duos, transcribed by 

William Primrose. While listening to the music, 

audience members enjoyed looking at the new 

portrait, hung in its place of honor, as well as 

other paintings and photographs in the Primrose 

Archive. 


8

Claudine Bigelow and Bryan Lew perform a selection of Bartók’s Duos 

Students hang Primrose’s portrait in its new place of honor (photo courtesy of the author) 


9

y Louise Lansdown 

Impressions from the Lionel Tertis 

International Viola Competition 

March 16–23, 2013 

The Isle of Man, home to the Tertis International Viola Competition (unless otherwise indicated, all 

photos courtesy of the author) 

Friday, March 15 

Arrival on the Isle of Man was yet again a fabulous feeling, greeted by a calm, yet chilly evening. 

The drive from the ferry terminal in Douglas served to remind me yet again of how unique an event 

this really is—an international viola competition on a tiny island; violists traveling from across the 

globe to this gloriously removed haven, away from the crazy race of life! Port Erin looked even 

more welcoming than I remembered, absolutely ready and delighted to be hosting this viola festival 

and competition. The first sight of the Erin Arts Centre brought a mega grin to my face—with the 

lighting illuminating the haunting sculpture outside and the colorful and welcoming banners 

announcing the Lionel Tertis International Viola Competition and Festival. After a wonderful 

greeting from festival director John Bethell and festival administrator Gloria Balakrishna, I was 

duly ushered toward the bar, and the festival spirit had begun. 

Saturday, March 16 

After a relaxing morning walking my doggie and doing some scintillating shopping at the Tesco 

Superstore, it was time for John Bethell to deliver the official opening to the festival—an inspiring 

and wonderful testament to Lionel and Lillian Tertis, and of course to all of the jury and people 


10

involved. This was followed by Tully Potter talking about Lionel Tertis, playing carefully selected 

recordings by the master accompanied by unique and personal anecdotes. Tully’s knowledge of 

early twentieth-century string players, styles, trends, and history is unsurpassed, and his particular 

brand of Tully-ness is a joy to behold. I particularly loved the recording of Tertis playing his own 

composition Sunset—a charming little piece packed with sentimentality and weaving melodic lines. 

Hong-Mei Xiao’s class on the third movement of Hindemith’s Der Schwanendreher was high 

octane and packed with invaluable tips. Hong-Mei’s obsession with articulation, clarity, and 

projection was inspirational, and her demonstrations were full of vigor and passion. Tucked into her 

obvious love for this piece and its unique character were some real technical gems—leaving plenty 

of room for thought and experimentation after leaving her class. Der Schwanendreher was 

admirably performed in the class by violist Laura Seay from the USA and pianist Anthony Hewitt 

(UK). 

The evening brought even further wonder, with an elegant and beautifully selected program from 

violist Jean Sulem (France) and pianist Caroline Dowdle (UK). Sulem began the recital with his 

own transcription of Schubert’s Variations on “Trockne Blumen,” D. 802, originally for flute and 

piano—revealing lyrical, sweet, and virtuosic qualities to his playing. He followed this with a 

deeply personal rendition of Stravinsky’s haunting Elegie, for solo viola (1944) and finished the 

first half with Heinz Holliger’s Trema, for solo viola (1981)—a veritable climax of viola fireworks! 

The atmosphere in Harry’s Bar in the interval was warm with everyone chatting together 

excitedly—many familiar faces who have been supporting the festival for many years alongside 

new and younger faces—reveling in the intimate and inspirational environment created in the Erin 

Arts Centre. 

Participants started early on viola ensemble music 


11

Sunday, March 17 

The morning began with me sorting out reams of Viola Ensemble music, putting music on stands, 

and generally thinking of ways to engage everyone at 10:00 a.m. on a Sunday morning. I decided to 

start off with the rousing Hungarian Dance in G Minor by Brahms, followed by one of Garth 

Knox’s Viola Spaces (arranged for multiple violas by Garth himself), Up, Down, Sideways, Round; 

the latter caused quite a kerfuffle with bows everywhere and much laughter to add to the equation. 

Tomorrow I think we shall be continuing with the Knox and perhaps even adding another Viola 

Space to our repertoire, Rapid Repeat, an exercise in tremolo. 

Jean Sulem gave a beautiful master class with two different performers, each playing the first 

movement of Brahms’s Sonata in E-flat, op.120, no. 2. His eloquent and sophisticated teaching was 

warmly linked to harmony at every corner, taking his musical direction and line integrally from 

within the piano score throughout. 

Samuel Rhodes gave a personal and movingly loyal session on the Allemande and Courante from 

Bach’s second Partita followed by the Allemande and Sarabande from the fourth Suite in E-flat. His 

knowledge from memory of every bowing and articulation was in itself astounding, accompanied 

only by an even deeper knowledge of harmony, musical shaping, inégale, and a wonderfully 

imaginative approach to voicing. 

Hong-Mei Xiao’s (viola) and Sophia Rahman’s (piano) recital was a vibrant and highly charged 

affair. Not only was Hong-Mei’s entrance and appearance striking, but her playing was packed with 

energy, life, and brilliance. The Schumann A-minor Sonata was stormily interpreted, followed by an 

impassioned and glittering Romeo and Juliet Suite. The recital ended with Bliss’s mammoth Sonata 

for Viola and Piano—a deluge of virtuosity with extremely beautiful lyrical moments in the second 

movement and Finale. The Furiant start to the Finale was exhausting to watch, never mind to play. 

One was left in no doubt about Hong-Mei’s musical beliefs and priorities—a real energetic 

powerhouse. 

Monday, March 18 

Due to work constraints I was forced to miss Tully Potter’s second lecture, “Oskar Nedbal and His 

Czech Successors,” although I did manage to hear the strains of Shostakovich’s Sonata and Rimsky- 

Korsakov’s Flight of the Bumble-Bee buzzing through the door toward the end of Tully’s talk. This 

was followed by yet another one of my Viola Ensemble sessions. I decided to start with the Chorale 

from Gordon Jacob’s Octet—sound building, intonation, pulse, texture, leading, and general group 

responsibility. To finish the session we continued to toil away on Garth Knox’s Up, Down, 

Sideways, Round, with bows and arms flailing! 

Maxim Rysanov’s master class in the afternoon included two renditions of the first movement of the 

Bartók Concerto, with a third student playing movements II and III. Maxim’s ravishing demonstrations 

and unfailing sense of humor were revelatory, as were his compelling and emotive 

concepts about the character of the music. His superstar status was certainly no surprise after 

hearing his marvelous playing and also observing the enthralled students hanging onto his every 

word. 


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Maxim Rysanov demonstrates at his master class 

Unbelievably there was yet another Viola Ensemble session after Maxim’s class; this time we 

ventured into the Argentinian world of Piazzolla! 

Martin Outram and Julian Rolton’s recital in the evening introduced the audience to several lesserknown 

Tertis arrangements as well as some hidden gems in the English viola repertoire. Martin’s 

fascination for this music was evident in his eloquent and informative introductions and in his 

deeply respectful and beautiful playing. All told—an unusual and illuminating recital. 

Tuesday, March 19 

Martin Outram, at left, works with a student at his Tuesday afternoon master class 


13

As ever, David Hume’s talk on instrument set-up and adjustments was fascinating, resulting in 

many questions. It seems like every instrument is an exception, as is every player—there is simply 

not one answer for anything. Mention of a microchip used to track instruments was certainly a 

talking point . . . one to follow up on. 

Viola Ensemble was up next, and we were lucky to have Nejat Başeğmezler to conduct his 

arrangement of Piazzolla for a part of the session. His session was packed with energy, hilarity, and 

punchy advice about rhythm. We finished our rehearsal off with Simon Rowland-Jones’s 

magnificent arrangement of Svanen, by the Finnish composer Selim Palmgren. 

Maxim Rysanov and Xenia Bashmet were the headline for the evening recital; with a packed hall 

and the appearance of Yuri Bashmet, the stage was set. The Lord Lieutenant Adam Wood arrived at 

the Erin Arts Centre to be greeted by God Save the Queen played by thirteen violas!! Maxim started 

off the evening with Bach’s Cello Suite No. 6 in D Major—what a task with only four strings. I am 

not really sure of the success of this key on a four-string viola, but the quality of the player was 

never in doubt for a moment. 

The rest of the concert was a mixture of touching arrangements of famous works by Ravel, 

Debussy, and Fauré, finishing with a dramatic and exquisite performance of Schumann’s 

Märchenbilder. 

Viola Ensemble participants cross “swords” before playing God Save the Queen 


14

Brian Hawkins, chairman of the jury, closed the evening off by reading the names of the eight semifinalists; 

plenty of jubilation but also disappointment! 

Wednesday, March 20 

By all reports David Hume again delivered a superb presentation on how to look after your bow (I 

was busy teaching, hence my inability to share firsthand experience). This was followed by Nejat 

and Betil Başeğmezler teaching Turkish folk music to the Viola Ensemble; plenty of fun was had by 

all. Everyone involved in the festival and competition met for the official photograph outside the 

Erin Arts Centre—almost freezing to death posing for the mug shots outside in seemingly subzero 

temperatures. The second-to-the-last Viola Ensemble rehearsal was next on the agenda; finally able 

to select the repertoire for the concert and really rehearse with the correct people on the correct parts 

(much hilarity and also mayhem!). 

Brian Hawkins delivered a scintillating talk on the Schubert “Arpeggione” Sonata and a short 

master class on the first movement of the sonata afterward. 

The hall was packed for Yuri and Xenia Bashmet’s recital in the evening; an incredible testament to 

this unique and unbelievable talent. This was a poignant and deeply sincere recital, and finishing 

with the Shostakovich Sonata was harrowing and nothing short of devastating. Yuri’s own brand of 

expression, bow control, and musical license is utterly individual. It is not the first time I have been 

privileged to hear Yuri live, but I think I was even more aware this time of his human frailty and the 

sense of occasion with him gracing the stage . . . 

Thursday, March 21 

What a day: eight semi-finalists playing for forty minutes each; nervous tension abounded. The lineup 

of semi-finalists included representatives from Japan, South Korea, China, Taiwan, USA, and 

one candidate from the UK. I did not envy the jury narrowing the final list down to three people. 

The announcement of the finalists was saved until after the end of the evening recital with Sarah- 

Jane Bradley and Anthony Hewitt—an eclectic collection of Martinů, Kodály, Mendelssohn, and 

Bowen—beautifully constructed and presented. The final offering was a gorgeous unpublished 

work by Bowen; what a gem! 

The announcement of the finalists was surprising; four rather than three! They were: 

Ziyu Shen (age 15) – China 

Matthew Lipman (age 21) – USA 

Shuangshuang Liu (age 26) – China 

Kei Tojo (age 21) – Japan 


15

Yuri Bashmet looks on while a student performs at his Friday morning master class 

Friday, March 22 

This morning it was Yuri Bashmet’s turn to give a master class—and what an occasion it was. His 

genius and his fantastically unique perspective on music and the viola came flooding forth; 

everyone patently aware that they were in the presence of greatness. His obsession with a true 

legato, his meticulous attention to detail with bow speed/weight and contact, and his interest in a 

musically complementary vibrato consumed his work on both the Shostakovich Sonata and Bartók 

Concerto. His connection with the Schnittke Concerto— and with the composer himself—was 

utterly fascinating, allowing a personal view of the relationship between composer and performer. 

The violist who played this for Yuri certainly came away with a much more intimate sense of the 

music and Schnittke’s intentions. 

It was the turn of the Viola Ensemble to have its concert in the afternoon. Much hilarity and chaos 

pervaded the event. My conducting debut was not too terrifying; seemingly entertaining for those 

watching! Yuri Bashmet came to watch and hopefully enjoyed our flamboyant offerings: the 

Chorale from Gordon Jacob’s Octet conducted by John Bethell, Brahms’s Hungarian Dance, Selim 

Palmgren’s Svanen (arranged for six violas by Simon Rowland-Jones), and an arrangement of 

Piazzolla’s music by Nejat Başeğmezler. 

The time was nigh to chat with Maestro Bashmet; sharing a few sips of wine in Harry’s Bar. 

Meanwhile a concert with five competitors who had not performed in the semi-final round was 

playing in the background on the television. Most convivial indeed . . . 


16

Samuel Rhodes, violist of the Juilliard Quartet for forty-four years, gave the evening recital—a 

wonderful selection of harrowingly difficult contemporary music by Elliott Carter, Milton Babbitt, 

and Hall Overton, alongside a W. F. Bach Sonata, Hindemith’s Sonata for Solo Viola, op. 25, no. 1, 

and the Stravinsky Elegie—what a privilege! Sam’s unfailing integrity, humility, and deep love for 

all of this music were evident. And his touching encore written by a friend on hearing of his 

departure from the Juilliard Quartet in 2013 left everyone feeling sad! Sam’s recital brought to an 

end the series of evening recitals, just leaving the following night for the final round of the 

competition. All of the events on Friday were very well attended despite a blizzard and utterly 

freezing temperatures outside. 

Saturday, March 23 

It was still snowing and incredibly windy on Saturday morning as everyone gathered for the Forum 

in Harry’s Bar, chaired by Brian Hawkins with Tully Potter, Sarah-Jane Bradley, and me on the 

panel. Many pertinent issues were discussed from the future of the viola, copyright and 

photocopying, and issues related to the Tertis Competition, including rules, external visibility, 

attendance, advertising, and press coverage. It certainly was a useful opportunity to share thoughts 

and ideas for the future. 

Time was then free until the start of the final round of the competition at 7:00 p.m.! It was sad 

seeing the trade stands pack up their tables to go home, a real sign that this inspirational festival was 

really coming to an end. The four finalists certainly provided a magical evening of music-making; 

displaying their incredible talents with their movement of Bach, the fiendish Peter Maxwell-Davies 

Six Sorano Variants for Solo Viola, and their chosen concertos. Nervous tension was high, but the 

standard was fantastically maintained throughout with musical integrity unquestioned. 

After an agonizing wait, everyone was called into the hall for the prize-giving and speeches. Many 

awards were presented to violists from the first and second rounds, with tributes made by the 

President, Yuri Bashmet, John Bethell, and the Mayor of Tinwald. Finally the prizewinners were 

announced: 

Shuangshuang Liu (China, age 26) and Matthew Lipman (USA, age 21) were awarded joint Third 

Prize 

Kei Tojo (Japan, age 21) was awarded Second Prize 

Ziyu Shen (China, age 15) was awarded First Prize 

Louise Lansdown has recently taken up the Head of Strings position at Birmingham Conservatoire 

after spending eleven years as Senior Lecturer in the School of Strings at the Royal Northern 

College of Music in Manchester. She is also Director of Chamber Music at Pro Corda, the 

International Chamber Music Academy based at Leiston Abbey in Suffolk. Louise is Secretary of the 

International Viola Society and President and founder of the British Viola Society. She completed a 

PhD on Paul Hindemith at the University of Manchester in 2008 and continues research on his 

music, life, and influences. 


17

Some Reflections from Competitor Laura Seay 

Laura Seay performs Rebecca Clarke’s Sonata at the Tertis Competition (photo courtesy of Laura 

Seay) 

“I personally have known about the Lionel Tertis International Viola Competition and Festival for 

years—it’s known as one of the most prestigious competitions and is respected throughout the 

musical community. I decided to enter the competition as a personal project and goal to work 

toward over this school year. My experience on the Isle of Man, surrounded by some of the most 

promising violists, exceeded all of my expectations and hopes. I met so many musicians, audience 

members, host families, and organizers at the Erin Arts Centre—so many people that I hope to call 

friends for the rest of my life. This environment of collaboration and camaraderie is certainly due to 

the efforts of John Bethell, Gloria Balakrishna, and all of the volunteers and helpers who organized 

the event. My hope is that they realize what a wonderful and nurturing environment they’ve helped 

to create. 

I remember speaking with one of the other competitors the night before the first round, and we both 

agreed that one of the most beneficial parts of participating in the competition had already occurred 

before it even started—the hours and hours that we had all spent preparing made all of us better 

musicians, more adept violists, and more disciplined artists. However, a pleasant surprise was 

hearing the repertoire selected by jury members for evening recitals. I left Tertis armed with 

multiple years’ worth of repertoire that I’m chomping at the bit and eager to play. Particularly 

interesting to me were the selections by English composers that are infrequently played in the 

United States—were it not for the Tertis Competition, I would never have known of many of these 


18

composers, and now there are twenty-eight international violists returning home and taking the 

music of England with them. What a thrill it is to be a part of this! 

Unfortunately there was not a class or formal discussion about Peter Maxwell Davies’s Six Sorano 

Variants, which was commissioned to be played by all contestants. With a piece this difficult and 

containing so many passages that needed adjustments by the player, it was a shame that there was 

not more of a formal discussion—but that didn’t stop us! There were many late night discussions 

among the participants, pulling out violas over beers, passing around the instrument, with each 

player demonstrating personal strategies for dealing with the obstacles in this piece. The level of 

musicianship among the competitors was incredibly high—I left feeling sad that I couldn’t live in 

this little bubble forever, but on the other hand I left feeling inspired, motivated, and grateful to 

have been included in such a wonderful opportunity. The spirit of music making and pushing to 

make the world of the viola better was alive and well on the Isle of Man!” 

Ms. Seay holds Bachelor and Master of 

Viola Performance degrees from The 

Juilliard School where she studied viola 

performance with Heidi Castleman, Steven 

Tenenbom, and Hsin-Yun Huang and 

chamber music with Robert Mann and 

David Soyer. Currently, Ms. Seay is a 

Doctor of Musical Arts candidate at the 

University of Colorado-Boulder, studying 

with Erika Eckert and Geraldine Walther. 

Ms. Seay won the President of the Jury 

Prize—awarded by Yuri Bashmet—and the 

Stainer and Bell Prize recognizing her 

excellent performance of Peter Maxwell 

Davies’s Six Sorano Varients at the 

2013Lionel Tertis International Viola 

Competition 

Fellow Tertis competitors Elizabeth 

Beilman, Neasa Ní Bhriain, and Mihai 

Cocea enjoy camaraderie in a British 

telephone booth (photo courtesy of Laura 

Seay) 


19

y Nicolai Pfeffer 

Max Bruch’s Double Concerto 

for Clarinet and Viola 

Regarding the Bruch concerto, we are without a 

doubt talking about a valuable addition to the 

Romantic solo repertoire for both the clarinet 

and the viola, written by a renowned composer 

of that period. Listening without prejudice, we 

immediately hear a warm, Romantic score for 

an unusual soloistical (and even orchestral 4 ) 

instrumentation that deserves to be performed 

regularly by professional and nonprofessional 

ensembles. This assertion is especially true 

since the alternative scoring for violin (instead 

of the clarinet) allows for different instrument 

combinations. 

Max Bruch 

Obtaining the orchestra parts for a large number 

of pieces for clarinet and orchestra is difficult 

and is a common problem for clarinet players. 

As a result, many compositions, including Max 

Bruch’s 1 Double Concerto for Clarinet and 

Viola, 2 op. 88, 3 are rarely performed in public. 

This situation is quite unfortunate—on the one 

hand, audiences may have the impression that 

the clarinet does not have a recognizable solo 

repertoire (besides the wonderful concertos of 

Mozart and Weber), and on the other hand, 

some really interesting pieces for clarinet and 

orchestra tend to be unavailable for listeners and 

clarinetists alike. 

Nevertheless, the Double Concerto in E Minor 

was lost for many years in unjustified obscurity. 

This neglect may be attributed to the work’s 

anachronistic character and the fact that Bruch’s 

compositions were banned from being publicly 

performed in Germany during the National 

Socialist Era. 5 Even though the conservative 

Cologne composer Bruch, a true admirer of 

Schumann and Mendelssohn and himself a 

composer of masterly craftsmanship, was 

seventy-three when he composed the concerto 

in Berlin in December of 1911, he was still 

composing in the style of his most popular 

work, the G-minor Violin Concerto of 1868. 6 

Bruch, who was known during his lifetime 

mainly for his choral compositions, was a 

traditionalist and resolutely and uncompromisingly 

defended his Romantic appreciation of 

art. This defense led to controversial discussions 

with some of the most eminent composers of his 

time, including the New Germans Wagner and 

Liszt, followed by their successors Reger and 

Strauss, and finally resulted in a decline of 

Bruch’s recognition toward the turn of the 

century. 


20

As with the Eight Pieces (Op. 83 7 )—a set of trio 

compositions for the clarinet, viola, and piano— 

the Double Concerto was written expressly for 

Bruch’s son Max Felix Bruch, 8 a gifted 

clarinetist whose playing was sometimes 

compared to that of Richard Mühlfeld, 9 the 

famous clarinetist from the Meiningen court 

orchestra. In 1912, Max Felix gave the first 

performance of Op. 88 10 from the manuscript 

parts together with Bruch’s friend, violist Prof. 

Willy Hess, 11 at the seaport in Wilhelmshaven, 

Germany. Another performance of the work was 

later given at the Berlin Hochschule für Musik 

(College of Music) on December 3, 1913. The 

work breathes the same air as Bruch’s earlier 

compositions (even borrowing themes and 

melodies 12 ) and many works by Mendelssohn 

and Schumann. But in 1913, music had already 

moved on to the revolutionary styles of 

Debussy, 13 Scriabin, 14 and the composers of the 

Second Viennese School: Schoenberg, 15 Berg, 16 

and Webern. 17 Igor Stravinsky’s ballet Le Sacre 

du Printemps 18 debuted in Paris only two 

months after the premiere of Bruch’s Double 

Concerto. Sacre, for example, provoked a 

musical debate such as had never been caused 

by any of Bruch’s compositions. Moreover, 

nobody expected a musical sensation from this 

seventy-three-year-old conservative composer 

whose creative energies were running low. 

publishing company has been sold several times 

and the number of copies published was quite 

limited due to the events of World War II. 

Additionally, it was assumed that the original 

autographs were destroyed during the last stages 

of the war. Fortunately, the manuscript of the 

full score showed up at Christie’s auction house 

in London in 1991 and was finally bought by 

the Cologne Max Bruch Archiv after the British 

conductor and Bruch expert Christopher 

Fifield 20 had verified its authenticity. The Max 

Bruch Archiv belongs to the Musicology 

Department of the University of Cologne and 

is—believe it or not—in my direct neighborhood. 

It hosts a vast collection of important 

Bruch autographs including, for example, his 

second violin concerto 21 and the second 22 and 

third symphonies, 23 as well as pictures and 

letters to or from his contemporaries and 

correspond-dence with the Simrock publishing 

company. 24 

Hence, the first performance of the Double 

Concerto was described as “harmless, weak, 

unexciting, first and most of all too restrained, 

its effect is unoriginal and it shows no masterstrokes,” 

in the Allgemeine Musikzeitung, 19 

criticism that may be justified in the light of the 

controversial premiere of Sacre and other works 

of the time. 

Max Bruch’s Op. 88 was first published in 1942 

by the Simrock successor Rudolf Eichmann in 

Berlin twenty-two years after the composer’s 

death. Since then, it has always been rather 

complicated or even impossible to rent the 

orchestral parts or a full score, since the 

Willy Hess, who premiered the viola part of 

Bruch’s Double Concerto 


21

The first page of Bruch’s autograph score for the Double Concerto, housed at the Max Bruch 

Archiv (photo courtesy of the archive, Br. autogr. 41) 


22

Back in 2004, when I began my clarinet studies 

at the Cologne Musikhochschule (College of 

Music), I got the opportunity to perform the 

Double Concerto with orchestra, but it was still 

not possible to buy or rent the performance 

material. This circumstance is why I began 

preparing a new urtext edition of the concerto 

on my own. Comparing Bruch’s manuscript 

score from the institute with the Berlin first print 

of 1942, I realized that there were many 

discrepancies between the two sources. What 

was even more surprising was the fact that the 

editor of the first edition, Otto Lindemann, 25 had 

made some significant changes in the manuscript 

score himself with a green pencil, which 

were later to be found in the printed editions of 

both the orchestra score as well as the piano 

reduction. The reduction was based on Bruch’s 

lost manuscript but had also been significantly 

altered by Lindemann. 

With the autographs of the piano reduction and 

the solo parts still lost, it seems an impossible 

task to determine who in the end was responsible 

for the abundance of different markings 

regarding dynamics, phrasings, and articulation 

between the printed editions of the score, the 

piano reduction, and the parts. The deviations 

between the manuscript, the first print of the 

orchestra score, and the first print of the piano 

reduction are probably due to either a belated 

revision by the composer himself or to arbitrary 

engraving at the publishing house. Concerning 

Bruch’s original intentions, the only remaining 

reliable document is the manuscript of the full 

score of the Double Concerto, which therefore 

served as the main source for my new edition. 

All major differences between the sources are 

listed in an editorial comment. 

I’m very happy that the first urtext edition of 

Max Bruch’s Double Concerto 26 (including the 

full score, orchestra parts, and a revised piano 

reduction) is now available through the 

renowned C. F. Peters publishing company in 

Frankfurt. The sheet music of the concerto is 

now sold and rented worldwide through their 

website. Thus I hope to provide musicians with 

a clearly arranged and practically oriented 

edition that gives justice to Bruch’s original 

score. 

A new, revised edition of the Eight Pieces (Op. 

83 27 ), following the Cologne manuscripts, has 

been published by the Munich publishing 

company Edition Diewa and can be ordered 

through the German sheet music service from 

Stephan Zerluth 28 in Munich. 

This article originally appeared in the June 

2012 issue of The Clarinet, the journal of the 

International Clarinet Association, and is 

reprinted with the kind permission of their 

editor, James Gillespie. 

Twenty-five-year old German clarinetist Nicolai 

Pfeffer studied clarinet performance with Prof. 

Ralph Manno at the Cologne Musikhochschule 

and with Prof. Howard Klug at the Indiana 

University Jacobs School of Music. In addition 

to his many chamber music and solo 

performances, he works as an educator and 

music editor for various major publishing 

houses in Germany. Feel free to e-mail him at 

info@nicolaipfeffer.com 

Notes 

1 Max [Christian Friedrich] Bruch: born January 

6, 1838, in Cologne; died October 6, 1920, in 

Berlin-Friedenau. Bruch was a German 

composer, teacher, and conductor. He received 

his first musical training from his mother, the 

music teacher and soprano Wilhelmine Bruch 

(née Almenräder, 1799–1867). His father, 

August [Carl Friedrich] Bruch (1799–1861) was 

vice president of the Cologne police. Bruch 

studied in Cologne with Ferdinand [von] Hiller 

(1811–1885) and Carl [Heinrich Carsten] 

Reinecke (1824–1910). Bruch received 


23

numerous academic awards, such as a 

professorship at the Berlin Hochschule für 

Musik, Dr. mus. h.c. (honorary degree) of the 

Cambridge University, the Berlin Honorary 

Doctor of Theology and Philosophy for his 

eightieth birthday, and many others. 

2 Doppelkonzert für Klarinette und Bratsche mit 

Orchester, op. 88 (1911), Berlin: Eichmann, 

1943. 

3 Prof. Dr. Dietrich Kamper: Catalogue of 

Works, in “Max Bruch Studien. Zum 50. 

Todestag des Komponisten,” (in: Beiträge zur 

Rheinischen Musikgeschichte Heft 87, Cologne 

1970). 

4 The orchestration is curious: the piece starts 

with a chamber music scoring, adding more and 

more wind instruments as it progresses. 

5 After having composed his Kol Nidrei, for 

cello and orchestra, op. 47 (1881)—a set of 

variations on two Jewish themes—it had been 

erroneously reported during the Third Reich that 

Max Bruch was Jewish. Bruch himself was 

Protestant, the grandson of the famous 

evangelical cleric Dr. Phil. Christian Gottlieb 

Bruch (1771–1836). 

6 Konzert Nr. 1 g-moll für Violine und 

Orchester, op. 26 (1864–1867), Wiesbaden: 

August Cranz, 1868. 

7 Acht Stücke für Klarinette, Bratsche und 

Klavier oder Violine, Violoncelle und 

Klavier, Badin/Leipzig: N. Simrock, 1910. 

First published in eight separate booklets. 

8 Max Felix Bruch (1884–1943) studied 

composition with his father in Berlin, but began 

his career as a clarinetist and conductor. Later 

he became the German representative of 

International Gramophone Company. 

9 Richard Mühlfeld (born February 28, 1856; 

died June 1, 1907) was a German clarinetist 

who inspired Johannes Brahms (1833–1897) 

and other important contemporaries to write 

chamber works and solo concertos for the 

clarinet. Please also see: Maren Goltz, Herta 

Müller, and Christian Mühlfeld, Richard 

Mühlfeld: The Brahms Clarinetist, Balve: 

Artivo Music Publishing, 2007. 

10 First performance on March 5, 1912, in 

Wilhemshaven, Germany. 

11 Prof. Willy Hess (born July 14, 1859; died 

February 17, 1939) was a German violin 

virtuoso and violin professor at the Berlin 

Hochschule für Musik. 

12 The second theme in the second movement of 

Op. 88 derives from the first movement of 

Bruch’s Suite No. 2 for Orchestra (Nordland 

Suite, 1906, WoO). 

13 Claude-Achille Debussy (born August 22, 

1862; died March 25, 1918). 

14 Alexander [Nikolalyevich] Scriabin (born 

December 25, 1871; died April 27, 1915). 

15 Arnold Schoenberg (born September 13, 

1874; died July 13, 1951). 

16 Alban [Maria Johannes] Berg (born February 

9, 1885; died December 24, 1935). 

17 Anton [von] Webern (born December 3, 

1883; died September 15, 1945). 

18 In English, The Rite of Spring, is a 1913 ballet 

with music by the Russian composer Igor 

Stravinsky (1882–1971), original choreography 

by Vaslav Nijinsky (1890–1950), all under 

impresario Sergei Diaghilev (1872–1929). It 

was premiered on May 29, 1913, at the Théâtre 

des Champs-Élysées in Paris and involved one 


24

of the most famous classical music riots in 

history. 

19 Allgemeine Musikzeitung Nr. 50, 1913. 

20 Christoph T. Fifield, conductor and 

musicologist, is the author of the excellent 

biography: Max Bruch—His Life and Works, 

London: George Braziller, 1988. 

21 Konzert Nr. 2 d-mol1 für Violine und 

Orchester, op. 44 (1878), Berlin: N. Simrock, 

1878. 

22 Symphonie Nr. 2 f-moll, op. 36 (1870, 

dedicated to Joseph Joachim), Berlin: N. 

Simrock, 1870. 

23 Symphonie Nr. 3 E-Dur, op. 51 (1887), 

Wiesbaden: Breitkopf & Härtel, 1887. 

24 My special thanks go to Prof. Dr. Wolfram 

Steinbeck and Thomas Fischer for 

granting me an impressive insight into the 

Cologne Max Bruch Archiv. 

25 Otto Lindemann (1879–1946) was a Berlin 

music editor and arranger. Lindemann 

was well known for his piano arrangements and 

reductions and potpourris of popular works by 

Johann Strauss (son), Franz Lehar, and Jacques 

Offenbach, among others. 

26 Doppelkonzert op. 88 für Klarinette (Violine) 

und Viola mit Orchester, edited by Nicolai 

Pfeffer, Frankfurt: C. F. Peters, 2010. 

27 Acht Stücke op. 83 für Klarinette, Bratsche 

(Violine, Violoncello) und Klavier, edited by 

Nicolai Pfeffer, Munich: Edition Diewa, 2010. 

28 http://www.zerluth.de. 


25

y Jorge Barrón Corvera 

Manuel M. Ponce’s Trio for 

Ponce (1882–1948) is internationally recognized 

as one of Mexico’s foremost composers and has 

been widely acknowledged as a pioneer of 

musical nationalism in his country. His prolific 

catalogue contains more than three hundred 

compositions. A man of vast culture, he wrote 

over two hundred articles about musical topics 

and was the founding editor of three influential 

music journals: Revista Musical de México 

(Mexico, 1919–20), Gaceta Musical (Paris, 

1928–29), and Cultura Musical (Mexico, 1936– 

37). Polyglot and multifaceted, he undertook a 

career with an array of occupations including 

teacher, music critic, editor, researcher, lecturer, 

administrator, conductor, pianist, and composer. 

He studied music in the cities of Mexico (1901), 

Bologna (1905), Berlin (1906), and in Paris 

Violin, Viola, and Cello 


(1925–32) at the École Normale de Musique 

with Paul Dukas. His eclectic musical style 

ranges through Baroque, Classical, Romantic, 

Impressionistic, Neoclassic, and Neoromantic. 

In addition, many of his works are influenced by 

the music of Cuba, Spain, and especially by that 

of Mexico. 

Ponce was first known as the composer of 

Estrellita (Little Star, 1912), an enchanting song 

that quickly captivated audiences around the 

world. Beginning in 1923, Ponce wrote for the 

William Primrose Portrait celebrated Unveiling Spanish guitarist Andrés Segovia a 

large body of guitar compositions, crowned by 

his Concierto del Sur (1941). His many pieces 

for guitar constitute one of the single most 

important contributions to the literature of that 

instrument. On a larger scale, a number of his 

orchestral works became well-known during his 

lifetime. Interest in exploring his complete 

Manuel M. Ponce 

catalogue is growing among musicians and 

researchers. 

To Carlos Prieto Jacqué 

26 

Composed in 1943, the Trio is Ponce’s last 

chamber music work. 1 It emerged between two 

of his most ambitious creations: the Concierto 

del Sur, for guitar and orchestra (1941) and the 

Violin Concerto (1943). The performance time 

of its four movements is approximately eighteen 

minutes. 2 Each instrument plays an active role 

through a dense contrapuntal writing resulting in 

rich, ample sound. The harmonic language is 

somewhat conservative yet belongs to this 

epoch. The melodic material is fluid and 

attractive. Musical depth and a variety of moods 

are displayed within typical forms. The last 

movement, Allegro giocoso, builds up to a 

brilliant ending. A discrete Spanish flavor 

permeates the piece. 3

Musical Sources 

The Trio was published by Ediciones Mexicanas de Música (score and parts). 4 There are also three 

manuscript scores that will be referred to as MS1, MS2, and MS3. 5 MS1 and MS2 were written by 

Ponce in pencil and ink, respectively. MS3 is a handmade copy of MS2 signed by Pineda and 

includes parts. MS1 is the earlier draft (ex. 1) and MS2 a cleaner version (exs. 2–11). MS1–MS3 

contain two cello parts: one easy and the other more elaborated. 6 The latter is used in the printed 

edition. 

An Unusual Case 

The piece was born under very particular circumstances. The sixty-year-old composer wrote it for a 

six-year-old boy and his parents, a family of amateur musicians. The dedication in the sources 

varies. The printed edition reads: “For Cécile, Carlos, and Carlitos Prieto.” In MS1: “For Cécile, 

Carlos, and Carlitos Prieto (a six-year-old cellist).” And in MS2: “For Cécile, Carlos, and Carlitos 

Prieto (a six-year-old cellist) who someday will surely be able to play the non-facilitated cello part. 

Cordially, Manuel M. Ponce, Mexico, 4 November 1943.” 7 Indeed, Carlos Prieto Jacqué is not only 

among Mexico’s most distinguished musicians but also a successful author and engineer. 8 

The Prieto Family 9 

Carlos Prieto Fernández de la Llana was a lawyer, and Cécile Jacqué was a homemaker. Although 

Cécile’s parents were from France, both she and Carlos were born in Spain, married there, and later 

became Mexican citizens. They were high-level amateur performers, each playing the violin and the 

viola; Carlos specialized in the former and Cécile in the latter. She studied in the Schola Cantorum 

of Paris. 

The Prietos were close friends and admirers of Ponce. They loved both the Sonate en duo pour 

violon et alto (1938) 10 as well as the string trio that the artist dedicated to them and frequently 

performed these pieces in family gatherings. Both compositions have a Spanish flair, most likely in 

honor of the dedicatees. 

They were a very musical family; Cécile’s father played the viola and her brother the cello. 

Together with Carlos and Cécile, they formed a string quartet. Later on, Carlos Jr. became the 

cellist of the group. His younger brother, Juan Luis, who played violin, joined the ensemble and 

Cécile occupied the position of violist. The quartet continued with Carlos Jr.’s son, Carlos Miguel, 11 

and nephew, Juan Luis, both violinists. Another distinguished member of the family was Carlos 

Sr.’s sister, María Teresa Prieto, 12 a composer who at some point took lessons from Ponce. 

A Note of History 

In MS1 (ex. 1) one can notice that Ponce created the piece with the easy cello part first and later 

appended the more elaborated one. In some cases he adds an extra staff (systems 1–3). In other 

instances, the advanced part is written over the simple one (systems 4–5). 


27

Example 1. Ponce, Trio, movt. I, mm. 1–27. 


28

According to MS2, the Trio was composed in a short time from January 20–28, 1943 (ex. 8). MS1 

gives conclusion dates for each movement as follows: I, January 23; II, January 24; III, January 25; 

and IV, January 28. Perhaps the composition’s swift completion was due to the fact that the author 

possibly intended it for the Prietos’s personal use. By adding a new cello part, the work became 

suited for the concert stage. It would seem that this part was added some time before the date of the 

dedication (November 4, 1943). A question remains: Was this addition the idea of the Prietos or the 

composer? 

The Trio was performed in Mexico City on August 25, 1948, as part of a series of concerts 

sponsored by the “Música de Cámara de México” society. The program notes indicate that the 

premiere took place in 1945 under the auspices of this organization. Unfortunately I have not found 

the premiere program, but I did locate the last program of the 1945 season, which contained an 

index of performances. The Trio is listed there, but no date or indication of the premiere is given. 

There is a handwritten document by Ponce that offers valuable information and was most likely 

used as program notes for the 1945 performance. 13 Following is a complete transcription: 

The Trio for Violin, Viola, and Violoncello is the second work that the author has written for 

these three instruments. The first one is a Suite consisting of a Prelude, a Canon, a Pavana, 

and a Fughetta on a theme by Bach. 14 

The Trio that will be played tonight by the Sociedad de Música de Cámara in its first 

performance was written some years ago and shows us a style very different from that of the 

Suite. In its movements I, II, and IV there are veiled allusions to the Spanish style. The third 

movement is a canon in mazurka time. 15 Overall, this work takes place in a cheerful mood, 

sometimes ironic, with the exception of the second movement, which is a melancholic 

song. 16 

This Trio for Violin, Viola, and Violoncello was written for the Prieto family, who cultivates 

chamber music with love: Carlos, a distinguished amateur violist; Cécile, his wife, an 

excellent violinist from the Paris Schola Cantorum, and Carlitos, their little son, disciple of 

Hartman 17 and precocious violoncellist of six years of age. The author wrote two cello parts, 

one very easy and the other with higher difficulties, taking into account the future progress 

of the young artist. 18 

Musical Aspects 

Ponce was confronted with the challenge of creating a piece for an ensemble that included a 

beginning cellist. This had particular implications. The cello part needed to be quite basic, mostly 

pedals, many on open strings. The upper parts should take most of the melodic and harmonic 

responsibilities through an active contrapuntal texture. They are treated in equal terms: the main 

melodic material alternates in a balanced fashion between violin and viola. In fact, the entire second 

movement is a two-voice canon. 

Regarding harmony, there is much limitation imposed by the cello pedals. Nonetheless, the 

composer finds resourceful ways to overcome these difficulties. The addition of a more involved 


29

cello part produces a heavier texture and a more imaginative creation. This new line is motivically 

related but rarely has the melody. 

Among other repercussions are choice of key; charming, uncomplicated melodies; traditional forms; 

limited instrumental technique; and a conservative yet modern language. One could say that this 

work may seem to conform somehow to Hindemith’s concept of Gebrauchsmusik. It is appealing to 

amateurs, students, and professional players as well as audiences. 

Form 

Each movement has a rather straightforward scheme. The first one is in sonata form. Two aspects 

are typical of the composer: the use of repeat signs for the exposition and the introduction of a new 

theme in the development. Theme 2 in the recapitulation is abbreviated and tied to the coda. A 

canon between violin and viola fills every section of the second movement, which is designed in 

ternary form. Within a through-composed plan, a simple melody of touching sadness is the main 

material of the third movement. Its return is varied and expands to an effective ending that includes 

foreign harmonies before reaching the main key of C minor. The fourth movement is a five-part 

rondo. The last refrain is shortened and connects to a long, dazzling coda. 

Harmony 

The easy cello part inflicts much restriction to the harmony. The tonic of three movements is G (I: 

G minor; II and IV: G major; III: C minor—still closely related to G and more often emphasizing 

the dominant rather than the tonic). This allows the use of pedals on the cello’s open strings. 

Diversity is accomplished by neomodality and tonality. For the latter, the composer mixes the major 

and minor modes at the phrase level to create variety while keeping the tonic. This becomes a 

recurring, unifying factor. 

Within a predominantly contrapuntal texture, a controlled level of dissonance is usually present to 

promote more interesting and complex sonorities. There is also some use of chromatic writing and 

foreign keys. The final version with the difficult cello part results in an artistic opus. Although 

somewhat conservative, its harmonic language is modern and rich and does not feel constrained. 

Performers and listeners will most likely be unaware of the mentioned limitations. 

Music Examples 

Theme 1 begins the piece without any introduction (violin, ex. 2). Two pedals on the open strings of 

the cello are the basic foundation of the excerpt. The modes of G Aeolian (mm. 1–5) and D Aeolian 

or D Dorian (mm. 8–11) are connected with a brief, unstable harmony (mm. 6–7). D is the common 

note that binds the whole passage. The harmony is enriched with some degree of dissonance. 


30

Example 2. Ponce, Trio, movt. I, mm. 1–11 (theme 1). 

The texture is dense with much contrapuntal interest. There is a connected, balanced dialogue 

between violin and viola. The melodic idea initiated by the viola in mm. 8–9 is imitated by the 

violin two measures later. Likewise, the viola line in mm. 10–11 is related to that of the violin in 

mm. 8–9.The rhythmic motive eighth–quarter–eighth passes from the violin to the viola in mm. 

3–4. In search of equity, the return of theme 1 in the recapitulation is presented by the viola. 

While the violin and viola parts have a reduced range and a more stepwise nature, the cello has 

arpeggio-like figurations and a wider range. It reinstates the basic pedals and adds contrasting 

material characterized by a free, improvisational spirit. 

There is an attractive rhythmic saturation. Take for instance mm. 8–9. The syncopated viola line is 

set against quarter notes in the violin while the cello seems to imitate a percussion instrument. A 

primitive, ethnic flavor is evoked. 

The first phrase finishes in m. 4. The second starts there but propels a series of sections with a 

developmental character that never stops until the beginning of the second theme in m. 40 (ex. 3). 


31

Example 3. Ponce, Trio, movt. I, mm. 40–47 (theme 2). 

As expected, theme 2 is quite contrasting in key, character, and texture. Its harmony is tonal rather 

than the modal harmony of theme 1. The key area is the typical dominant, D major. However, the 

composer cleverly mixes elements from the major and minor modes. As stated before, this is a 

frequent device that appears throughout the work. The viola counterpoint supplies rhythmic and 

harmonic clashes, which add spice (mm. 40–43). The tune is simple yet emotive and lyrical. It has a 

clear Spanish taste with arabesques provided by melodic groups of sixteenth notes in mm. 41, 43, 

45, and 47. In fact these types of figures were first introduced in m. 16 (violin, ex. 9a). They are 

also an important element in the second movement (ex. 5). Less evident instances can also be found 

in the last two movements. 

The thin texture emphasizes the violin melody (mm. 40–43). An even leaner texture with almost no 

dissonances is used when the viola takes up the theme (mm. 44–47). The cello responds at the end 

of phrases by imitating the arabesques. 

Mm. 87–89 (ex. 4) exhibit faster harmonic rhythm and active interaction between violin and viola 

by means of canonic writing. The cello is also very busy with material akin to the upper parts. This 

modulating passage, begun in m. 81, moves through some foreign keys. 

A new modal theme was first introduced by the viola in mm. 74–77 and then repeated by the violin 

in a different register and key (mm. 78–81). Now, a powerful version appears in octaves (except for 

m. 90) in the lower voices (mm. 90–93) while the violin persistently repeats the final and dominant 

notes of the D Phrygian mode. 


32

Example 4. Ponce, Trio, movt. I, mm. 87–93. 

Example 5. Ponce, Trio, movt. II, mm. 1–8. 


33

A canon between violin and viola fills the entire second movement (ex. 5). The cello executes 

imitative contrapuntal lines. The composer plays in expressive ways with the major and minor 

modes of the key of G. The first phrase opens and closes in G major but borrows elements from the 

minor mode in between. The second phrase uses the major mode but concludes in the minor. A 

Spanish essence continues to be present. The alternate section has a certain Mexican romantic flair 

that recalls Ponce’s early style. 

The third movement is based on the melody shown in example 6. The tune is rather simple, yet sad 

and melancholic. The augmented second that completes the violin phrase (m. 17) is immediately 

imitated by the cello and recalls elements of Arabic music. 

Example 6. Ponce, Trio, movt. III, mm. 11–19. 

There is a moving counterpoint with great independence of lines. Each voice seems to add to this 

lament. There is a good share of dissonant notes and interesting harmonization that includes a 

secondary dominant in mm. 15–16. 

Elements from the three forms of the minor scale are used: melodic (violin, mm. 11–16), 19 

harmonic (violin, mm. 16–18; cello, mm. 11–12 and 17–18), and natural (cello, mm. 13–14). Notice 

how the A-flat and B-flat in the cello part, mm. 11 and 13, are juxtaposed respectively to the 

A-natural and B-natural of the violin in the same measures. 


34

The description of the fourth movement as Rondo-scherzoso and its tempo, Allegro giocoso, are 

clearly in tune with the playful character of the main theme (violin, ex. 7). Major-minor tonality is 

mixed with modal elements in rapid fashion. The cello part has some significant features. It plays 

canon with the violin at the beginning of the melody. On the other hand, it adds a folkloric sense 

with its double notes in the manner of a drone. Beginning in m. 8, the viola repeats the melody 

while the violin performs an ascending-descending chromatic scale in pizzicato (mm. 9–16). 

Example 7. Ponce, Trio, movt. IV, mm. 1–9. 

The long coda, which spans thirty-eight measures, builds up to an exciting finale (ex. 8). It grows 

out of the main theme but introduces a short new motive of Spanish flair that is played first by the 

viola and then replied by the other instruments. This element can be seen in example 9c (viola; 

notice an Arabic-like rhythmic accompaniment). The motive occurs in the cello in mm. 196–98 (ex. 

8), first in the natural minor mode, then in the harmonic minor scale with the augmented second. 

The upper parts execute thrilling fortissimo sixteenths in octaves based on the theme with its 

characteristic major-minor interplay. 


35

Example 8. Ponce, Trio, movt. IV, mm. 195–205. 

Related Matter 

There are common melodic turns among movements. They have much to do with Moorish musical 

characteristics, which are after all an important influence in Spanish music. A simple five-note 

arabesque figure, shown in example 9a, appears within the first thematic area of movement I in m. 

16 (violin). It becomes an essential part of theme 2. The intervallic content and contour can be 

modified as previously seen in mm. 41 and 43 of example 3. Observe the augmentation in m. 42. 

Example 9a. Ponce, Trio, movt. I, mm. 16–17. 


36

This figure and its variations infuse much of the second movement, as seen earlier in example 5. A 

version that involves sixteenth triplets is first introduced in the coda of movement I, example 9b 

(violin). A derived motive irrupts in the coda of the last movement, example 9c (viola). 

Example 9b. Ponce, Trio, movt. I, m. 151. 

Example 9c. Ponce, Trio, movt. IV, mm. 171–74. 

A part of the harmonic minor scale, the “exotic” augmented second, is also a frequent ingredient; 

see examples 6 (violin and cello, m. 17), 10a (viola), and 10b (cello, m. 2). 


37

Example 10a. Ponce, Trio, movt. I, mm. 61–63. 

Example 10b. Ponce, Trio, movt. III, mm. 1–2. 

The main theme of the last movement (ex. 7) is related to earlier material shown in example 11. 


38

Example 11. Ponce, Trio, movt. II, mm. 20–23. 

Conclusion 

It is remarkable how some unlikely circumstances gave birth to the Trio for Violin, Viola, and 

Cello. This piece accomplishes great sound and expression from a small ensemble and constitutes 

effective material both for the classroom as well as for the stage. It features an attractive, original 

idiom within a conservative modernism and a brilliant, idiomatic writing that exhibits effective 

contrapuntal textures where each instrument is as important as the next. Although a few commercial 

recordings have been identified, it is hoped that many more will soon surface. 20 

Two previous articles on Ponce’s chamber music with viola were offered in JAVS (see footnote 1). 

They dealt with the Sonata a Dúo for Violin and Viola (1938) and the Trio for Violin, Viola, and 

Piano (c. 1929). A future project could focus on the Petite suite dans le style ancien for Violin, 

Viola, and Cello (c. 1927, see footnote 14). For a recording of this Trio featuring Jorge Barrón, 

violin; Cristina Pestana, viola; and Roberto Gómez, cello; please visit 

http://americanviolasociety.org/resources/recordings. 21 An edition is available from Ediciones 

Mexicanas de Música, Avenida Juárez 18-206, Centro Histórico, México, D.F., C.P. 06050. 

Telephone (52) (55) 5521-5855. 

Jorge Barrón Corvera holds M.M. and D.M.A. degrees in Violin Performance from the University 

of Texas at Austin and completed a one-year post doctorate visiting scholar residency at Yale 

University. He has worked as a teacher, performer, and researcher in Mexico and the United States 

and has published musicological journal articles in these countries as well as in Chile and the 

United Kingdom. Dr. Barrón is a full professor at the School of Music of the Universidad Autónoma 

de Zacatecas. 


39

Notes 

1 There is an unfinished quartet for guitar, violin, viola, and cello (1946). For more information, see 

Jorge Barrón Corvera, “Manuel M. Ponce’s Quartet for Guitar and Strings,” Classical Guitar 15, 

no. 2 (1996): 22–27 and Jorge Barrón Corvera, Manuel María Ponce: A Bio-Bibliography 

(Westport, CT: Greenwood Publishing, 2004), 43 (W29). A concise biographical account of Ponce 

can be consulted in this book as well as in Jorge Barrón Corvera, “Harmonic Aspects of Manuel 

Ponce’s Sonata a Dúo (1938) for Violin and Viola,” Journal of the American Viola Society 11, no. 3 

(1995): 9–17. For a list of Ponce’s string chamber music, refer to the bio-bibliography and also to 

Jorge Barrón Corvera, “Manuel M. Ponce’s Trio for Violin, Viola, and Piano: An Unpublished 

Manuscript,” Journal of the American Viola Society 17, no. 3 (2001): 27–30. 

2 The individual movements and their durations (as recorded by Camerata Ponce, see Barrón, 

Manuel María Ponce: A Bio-Bibliography: D105) are: I. Allegro non troppo, espressivo (6:54); II. 

Moderato. Tempo di minuetto (3:52); III. Canción. Andante espressivo (3:45); IV. Rondoscherzoso. 

Allegro giocoso (3:23). 

3 I wish to thank D. L. Sullivan, Ph.D; J. Sullivan, Ph.D; and D. Bynog for proofreading the article 

and making valuable editorial suggestions. 

4 The composer Rodolfo Halffter, director of Ediciones Mexicanas de Música, proposed the 

publication while Carlos Prieto Fernández contributed the necessary funds; Esperanza Pulido, 

“Segundo aniversario de la muerte del maestro Ponce,” Novedades (Mexico City), April 23, 1950. 

Apparently the Trio was first published in 1949. Mexico’s Consejo Nacional para la Cultura y las 

Artes sponsored a reissue in 1994. 

5 These sources are found in the Cuicamatini Library (Fondo reservado) of the Escuela Nacional de 

Música, Universidad Nacional Autónoma de México. I gratefully acknowledge this institution and 

Paolo Mello, piano professor at Escuela Nacional de Música and distinguished Ponce scholar, for 

allowing me to consult these documents and to reproduce excerpts as musical examples. 

6 MS2 is used in all musical examples, permitting the reader to appreciate the two cello lines. 

7 All translations are by the author. 

8 Carlos Prieto Jacqué, http://www.carlosprieto.com/bioS.html; 

http://es.wikipedia.org/wiki/Carlos_Prieto_Jacqu%C3%A9 (accessed August 14, 2012). 

9 Information obtained through a telephone conversation with Carlos Prieto Jacqué, July 24, 2012. 

10 Barrón, “Harmonic Aspects of Manuel Ponce’s Sonata a Dúo” and Manuel María Ponce: A 

Bio-Bibliography, 47 (W45). 

11 Carlos Miguel Prieto, http://es.wikipedia.org/wiki/Carlos_Miguel_Prieto (accessed August 14, 

2012). 


40

12 María Teresa Prieto, http://es.wikipedia.org/wiki/Mar%C3%ADa_Teresa_Prieto (accessed 

August 14, 2012). 

13 Documents consulted in Ponce’s personal archive. 

14 This work’s title is Petite suite dans le style ancien (c. 1927). It is written in a Baroque style with 

a busy contrapuntal texture that allows an active participation of each instrument. There is a 

transcription for orchestra by the composer (premiered in 1935) as well as earlier versions for solo 

piano of parts 2, 3, and 4. See Barrón, Manuel María Ponce: A Bio-Bibliography, 44 (W36). 

15 Tempo di minuetto, according to MS1 and MS2. 

16 Apparently for this presentation the order of movements II and III was inverted (see endnote 2). 

17 Imre Hartman, Hungarian cellist, member of the Léner Quartet. 

18 Part of these notes are cited or paraphrased in the program of August 25, 1948. 

19 The note A in m. 11 (violin part) is missing a natural symbol according to MS1 and also to m. 19 

(ex. 6) where the viola takes up the melody. There are a number of discrepancies among the 

sources. Although it is not within the scope of this article, a thorough revision is needed. For 

instance, the violin’s second note, E, in m. 78 of movement I, is missing a natural symbol according 

to MS1. This mistake is present in all the other sources including the printed edition. 

20 For a list of recordings, see Barrón, Manuel María Ponce: A Bio-Bibliography, 48 (W48). 

21 Recording details: 

Manuel María Ponce: música de cámara 

Ediciones Pentagrama PCD 1222 (Mexico City 1999) 

Camerata Ponce (Jorge Barrón, violin I; Ricardo Justiz, violin II; Cristina Pestana, viola; Roberto 

Gómez, cello; all members are professors at the Unidad Académica de Artes of the Universidad 

Autónoma de Zacatecas). 

Contents: Trio for Violin, Viola, and Cello (1943, Barrón, violin); Quatre Miniatures, for string 

quartet (1927); String Quartet (1936); Andante, for string quartet (1902). 

Manuel Ibarra Santos, Executive producer 

José Guadalupe Ojeda Aguilar, General producer 

Vicente Rodríguez, Recording engineer 


41

Construction and Design 

The Contemporary Violas of William Primrose 

by Bryan Lew 

The display case at the Primrose International Viola Archive; from left to right: instruments by Yu 

Iida, Philipp Keller, and Pierre Vidoudez (all photographs courtesy of Martha Davidson) 

The Primrose International Viola Archive (PIVA) in Provo, Utah, is home to the world’s largest 

collection of materials related to the viola. These materials include published scores, original 

manuscripts, correspondence, research papers, photographs, sound recordings, and other 

memorabilia from the private collections of many renowned violists. In addition to these, PIVA has 

an instrument collection that includes three beautifully crafted violas: a five-string viola alta built in 

1904 by Philipp Keller and two contemporary violas played by William Primrose, one by Pierre 

Vidoudez and one by Yu Iida. The three instruments are on display in the Primrose Room, which 

features an exhibit of Primrose memorabilia. The instruments provide a visual symbol to students, 

performers, and scholars from around the world who enter PIVA. Of the various violas played by 

William Primrose, much has been written about the historic Amati and Guarneri violas that he 

owned. The two lesser-known contemporary violas from PIVA’s collection also share many fine 

qualities and deserve some attention. This article provides a brief exploration of the history, 

physical features, and tone quality of the Vidoudez and Iida violas. 


42

Pierre Vidoudez 

Back view of the Vidoudez viola 


43

History 

Pierre Vidoudez was a luthier from Geneva who made this viola specifically for Primrose, who 

played on the instrument at all of his Swiss engagements during the mid-1940s and early 1950s. 1 

Before its acquisition by PIVA, the viola was owned by David W. Green, a violist from El Paso, 

Texas. David Dalton, co-founder of PIVA, coached Green in a quartet for several years while living 

in southern California. In 2000, Green informed Dalton about his possession of Primrose’s 

Vidoudez instrument and expressed the desire to donate it to PIVA, but he requested half the 

appraised value in return. The viola was then partially gifted, with an anonymous donor covering 

half the cost of the instrument. 

Physical Features 

The Vidoudez viola has the following dimensions: 

String Length: 15 in. 

Body Length: 16 ½ in. 

Upper Bout: 7 ½ in. 

Middle Bout: 5 in. 

Lower Bout: 9 ½ in. 

These dimensions follow the Stradivari viola model. The long, narrow f-holes exhibit a delicate cut, 

a slight inward taper along the top end, and a bell shape toward the lower bout. Bold carving is 

evident in the scroll. The dark-red varnish is a particularly striking feature of the instrument. The 

back is of two-piece maple and shows spots of intentional wear along the bottom bout, giving it an 

antiqued look. Flaming on the back is very prominent. The spruce top has a matte finish and has 

also been purposefully aged around the upper bout where the left hand makes contact. Overall, this 

viola is well-preserved and in good condition; minimal marks in the varnish can be seen around the 

top edges of the rims, giving the instrument a pleasant, vintage appearance. 

Tone Quality 

The Vidoudez is characterized by an even tone and a great capacity for a wide range of dynamic 

variation and color. However, the overall timbre is predominated by a pleasing, mezzo quality. The 

viola’s sound range does not include that of mellow, darker instruments such as those of Gasparo da 

Salò. In its present condition, the instrument is not very loud under the ear; however, it retains much 

of its resonant capacity and projection. The coloristic harmonies of Rebecca Clarke’s Sonata are an 

example of what might be particularly suited to the tone quality of this instrument. Thicker, more 

contrapuntal textures, such as those from the sonatas of Hindemith, would be lost in the mezzo 

range. Consonant articulations have roundness to them, while open vowel articulations exhibit a 

nice, even quality. 


44

Side view of the Vidoudez viola’s scroll 


45

Yu Iida 

Front view of the Iida viola 


46

History 

Yu Iida was a luthier from Kiso-Fukushima, Japan. Iida constructed this viola specifically for 

Primrose, who played on this instrument while in Japan in the mid-1970s. He continued to play on 

this viola until the end of his life. Primrose loved everything Japanese and spoke very highly of Iida, 

recommending Iida’s instruments to other musicians, including legendary violinists Yehudi 

Menuhin and Oscar Shumsky. 2 Primrose recorded Bach’s Cello Suites on the Iida at age seventyfive. 

At the time, he was living in Provo and working with David Dalton on the book Playing the 

Viola. Dalton noticed Primrose playing Bach and noted the lighter and faster performance style. 

Primrose agreed to record the cello suites under the condition that it be a two-CD set, the first being 

a collection of his vintage recordings made in his prime. The viola was gifted to PIVA by 

Primrose’s wife, Hiroko. 

Physical Features 

The Iida viola has the following dimensions: 

String Length: 14 ⅞ in. 

Body Length: 16 in. 

Upper Bout: 7 ¼ in. 

Middle Bout: 4 ⅞ in. 

Lower Bout: 9 in. 

This instrument is an exact copy of the Lord Harrington Guarneri that Primrose played. 3 The 

broadly cut f-holes are relatively straight, and the delicate scroll follows a shapely pattern. Medium 

dark-red varnish has been applied, which is fairly translucent on the top, revealing a more visible 

grain. The two-piece back displays light flaming. Marks of wear and use along the top rim indicate 

that the viola was played frequently. Despite these marks, the viola is in excellent condition. 

Side view of the Iida viola’s body 


47

Tone Quality 

Compared to the Vidoudez, the Iida viola has a brighter tone quality and a more focused sound. The 

focused sound may be attributed to an unusually large bass bar that makes contact with the sound 

post. This increased pressure on the sound post could be the cause of a relatively nasal C-string 

sound and an edgy surface layer in the lower register. The response from the strings is very live and 

quick. The viola is loud under the ear but plays with an overall softer room projection. Texturally, 

the viola exhibits a prominent, close-range presence, as if one were listening to an old vinyl record. 

Its responsive quality would do well with the second movement of the Walton concerto and any 

orchestral excerpts that employ the spiccato or sautillé bow strokes. 

Concluding Comments 

Today, the instruments are displayed as part of PIVA’s exhibit. The Vidoudez is strung with 

Obligato strings, while the Iida uses Dominants. Visitors are welcome to look at them and other 

materials in the collection. The violas are not loaned out for recitals or public performances; 

however, they are routinely taken out of the case and played, simply to “keep them alive.” 4 Dr. 

Claudine Bigelow, Professor of Viola at Brigham Young University, assigns one of her students to 

take them out and to play them within the confines of the Primrose Room. Embedded in each of 

these beautifully crafted instruments is a great physicality and unique tone, as well as a remarkable 

history. 

Bryan Lew recently completed his Bachelor of Music Degree at Brigham Young University in viola 

performance under the tutelage of Professor Claudine Bigelow. For the past three years, Bryan has 

worked as a library assistant at the Primrose International Viola Archive. 

Notes 

1 

William Primrose to Maurice Riley, October 20, 1978. William Primrose Papers, MSS 7891, L. 

Tom Perry Special Collections, Music Special Collections, Harold B. Lee Library, Brigham Young 

University. 

2 William Primrose to Yehudi Menuhin, November 24, 1975, and February 17, 1977. William 

Primrose Papers, MSS 7891, L. Tom Perry Special Collections, Music Special Collections, Harold 

B. Lee Library, Brigham Young University. 

3 William Primrose to Maurice Riley, October 20, 1978. William Primrose Papers, MSS 7891, L. 

Tom Perry Special Collections, Music Special Collections, Harold B. Lee Library, Brigham Young 

University. 

4 David Dalton, interview with author, December 2012. 


48

Bibliography 

Bigelow, Claudine. “No Time for Snobbery.” Strad 115, no. 1372 (2004): 792–94, 797. 

———. Interview with author. December 2012. 

Dalton, David. Interview with author. December 2012. 

Douglas Mounger to William Primrose, December 5, 1976; January 17, 1977; April 19, 1977; 

and October 5, 1977. William Primrose Papers, MSS 7891, L. Tom Perry Special 

Collections, Music Special Collections, Harold B. Lee Library, Brigham Young University. 

William Primrose to Douglas Mounger, December 24, 1976. William Primrose Papers, MSS 

7891, L. Tom Perry Special Collections, Music Special Collections, Harold B. Lee 

Library, Brigham Young University. 

William Primrose to John and Muriel Bingham, November 25, 1975. William Primrose Papers, 

MSS 7891, L. Tom Perry Special Collections, Music Special Collections, Harold B. Lee 

Library, Brigham Young University. 

William Primrose to Maurice Riley, October 20, 1978. William Primrose Papers, MSS 7891, L. 

Tom Perry Special Collections, Music Special Collections, Harold B. Lee Library, 

Brigham Young University. 

William Primrose to Yehudi Menuhin, November 24, 1975, and February 17, 1977. William 

Primrose Papers, MSS 7891, L. Tom Perry Special Collections, Music Special 

Collections, Harold B. Lee Library, Brigham Young University. 

Riley, Maurice W. The History of the Viola. 2 vols. Ann Arbor: Braun-Brumfield, 1980–91. 

Shaver-Gleason, Linda. “Ritter’s Viola Alta: The Viola’s Nineteenth Century Identity 

Crisis.” Journal of the American Viola Society 21, no. 2 (2005): 19–26. 


49

The Eclectic Violist 

Joy and Madness: Three Weeks in the Life of 

Lev “Ljova” Zhurbin 

by Lev “Ljova” Zhurbin 

Ljova and his family enjoy time together on their bikes (photo courtesy of Sasha Alhovsky) 

Introduction 

April 12, 2013 

I’d like to begin, if I may, with a quote from Donald Knuth, the Professor Emeritus of the Art of 

Computer Programming at Stanford University and an amateur organist. Don Knuth has a very 

informative website, heavy on text and minimal on graphics. He tweets not, Facebooks not, tumblrs 

not. Having used e-mail for fifteen years, Knuth quit using e-mail January 1, 1990. Explaining his 

reason, Knuth said, “Email is a wonderful thing for people whose role in life is to be on top of 

things. But not for me; my role is to be on the bottom of things.” 

I had seen this quote earlier this week, and it struck a chord with me. Not nearly as courageous as 

Knuth, I had just quit Facebook—quitting a social net that covered roughly 2500 friends, fans, and 


50

colleagues. It was not easy, but I had to quit—after all, what is more important: my work or my 

status? 

The bottom of things—what is there? At the bottom of all things musical is love. Love for family, 

your colleagues, the music, your audience, your instrument, your surroundings. And if we don’t 

make enough time for any of these, what is left? Shopping, accounting, e-mail, Facebook, reading 

the newspaper and filling your heart with venom [sic]. 

In the space of the next few weeks, I have: 

• a premiere of a new song cycle, commissioned by Art of Élan, a very enterprising chamber music 

series in San Diego (Songs of Bert Meyers, seventeen minutes of music, in which my wife is the 

vocal soloist and I’m also performing on viola); 

• two newly commissioned orchestral arrangements of Mexican songs in Puebla (Popurrí de Valses 

and Popurrí de Agustín Lara, eighteen minutes of music); 

• two performances with my ensemble, Ljova and the Kontraband, one of them during which we 

split the bill with our friends from Brooklyn Rider, who will perform my string quartet Culai, which 

they commissioned; 

• I’m also playing a house concert with a newly formed trio, and I have several recording sessions 

and gigs [and, as it turned out, I ended up doing a whole lot more!]. 

Members of Brooklyn Rider, from left to right: Nicholas Cords (viola), Johnny Gandelsman (violin), 

Colin Jacobsen (violin), and Eric Jacobsen (cello) (Photo courtesy of Sarah Small) 


51

Meanwhile, I’m also chipping away at a film score and am shortly going to be reaching the deadline 

for two pieces for woodwind quintet, which are due mid-May. At the same time, I’m supposed to 

finish three orchestrations for clarinetist Alexander Fiterstein and string quartet . . . in other words, 

the next few weeks are not a good time for a vacation. 

Yet I take mini-vacations—on my bike. I’ll happily bike anywhere from our Upper West Side 

apartment within a thirty-mile radius, because it clears my head and gives me time alone. On more 

than one occasion have I hummed musical ideas into my phone while biking, which became vital 

parts of projects I was working on. 

I take mini-vacations while washing dishes, in trips to the Ukrainian diner Veselka (where, notably, 

no music plays), reading on my Kindle, spending quality time with the kids at a playground, 

practicing violin with them . . . even playing viola for a few minutes can feel like a vacation, a 

reconnection to the ground. 

Right now, things are incredibly hectic and exciting. I’m so grateful to all of my collaborators to 

have the work, their trust, and all these new pieces to write and premiere. At the same time, I’m also 

looking forward to this madness being over—I’ve recently acquired a Boomerang looper and am 

hopeful to begin composing pieces for fadolín (my six-string violin with a “fa” and a “do”) and 

looper, as well as hopefully commissioning others to write for me. And so, adieu Facebook, bonjour 

JAVS, we begin. 

FRIDAY, APRIL 12: 

Why not start with a little failure? This morning, I had a long meeting with a filmmaker who wanted 

me to score her debut feature film. Unfortunately, it didn’t go as well as I was hoping—she didn’t 

like the cue I wrote, it was too complex and not fun enough for her—this happens to me sometimes, 

where I overestimate the amount of density a film score can handle and get too ambitious. 

Revised an arrangement of a medley of waltzes by the Mexican composer Agustín Lara, which will 

be premiered in Puebla, Mexico, in a couple of weeks, with the wonderfully talented and incredibly 

communicative tenor Javier Camarena with Iván López Reynoso conducting. 

In the evening, our kids, Benjy (who’ll soon turn four) and Yos’ka (a.k.a. Joey, who is almost two), 

watched the BBC’s animated version of Janáček’s opera The Cunning Little Vixen. In about two 

weeks I’m taking Benjy to see the opera live, at The Juilliard Theater. Janáček is one of my favorite 

composers, and it’s a treasure to have an animated version of his work to show the kids as 

preparation for the real performance, and we’re so lucky to have a live staged version this season 

that is open to people of all ages. 

SATURDAY, APRIL 13: 

Our weekends are typically quite low on work hours—we spent all day biking with the kids packed 

in our bike stroller, heard live jazz at Chelsea Market, detouring to a playground . . . my feet still 

feel like I’m pedaling. 


52

Speaking of cycling, Inna, my wife, practices the song cycle at the piano, while I sit across the 

room, trying to revise the same songs, re-transpose them, and clarify the score for the ensemble. I 

do this in headphones, drowning out the singing by using the SimplyNoise app on my phone. 

SUNDAY, APRIL 14: 

This afternoon I’m playing a house concert at DuPuy’s Landing Guesthouse in Chelsea with clarinetist 

Sam Sadigursky and bassist Thomson Kneeland. This was a spinoff concert of a new trio 

project with bassist Pablo Aslan—but Pablo couldn’t make it for this date, so we played with 

Thomson, who came heavily recommended by Sam. Thomson rocked it—both are such great 

musicians. I was surprised and grateful to have an audience of thirty people I didn’t know, all of 

whom wanted to buy CDs. We were fed bagels and lox, and there was champagne and coffee. We 

played well, no doubt thanks to the lox. 

One of the things that started happening recently is that I’ve become pickier about which instrument 

to play on which song—sometimes the viola is perfect; and at other times, the fadolín (my acoustic 

six-string violin made by Eric Aceto). I find that tunes in D minor, for instance, sound better on 

viola; tunes in B-flat major sound better on the fadolín. In some tunes, the range of chords (and their 

inversions) that I can voice on the instrument becomes a deciding ingredient; in others, it’s the 

range of the melody, the scope of the improvised content, or very often it’s the tone. My viola has a 

bigger, brighter tone, while the fadolín has this wonderfully intimate, viol-like quality. I often 

change fiddles between songs, depending on the sound they’re looking for. 

Ljova plays his six-string fadolín (photo courtesy of Anna Rozenblat) 


53

MONDAY, APRIL 15: 

Bombing in Boston . . . flood of news, despair, sympathy; checking in on our friends in Boston, 

their parents . . . massaging parts for Songs of Bert Meyers and finally sent them off to my 

publisher, Diana Jaensch. Dealing with a filmmaker who might fire me, other filmmakers who 

might hire me—so it goes, the film music world is always in flux, right up until the film’s release, 

and even after that. No practicing today. 

TUESDAY, APRIL 16: 

Decided to re-orchestrate a cue that my filmmaker said “didn’t have enough spank”; tried to beef it 

up and also installed some higher quality orchestral samples (now using “Sibelius Sounds”). One of 

my mentors at the Sundance Institute’s Film Composers Lab suggested using the lousiest orchestral 

samples for demos, because they leave much to the imagination when real players arrive. But no 

luck—even with the refined samples and mix, still the cue is rejected, despite being at exactly the 

same metronome marking as the temp music, which is something from my album Lost in Kino. 

Having to battle with temp music is hard enough—battling temp music from your own music is 

even harder. I may lose this battle. 

Bought two cardboard-box violins for a group violin class that’ll meet at our apartment for the first 

time on Saturday. Hustling on a few contacts to perform in Europe. Checking the lead sheet for the 

Agustín Lara songs medley, which I had asked my colleague Roger Zare to type out for me—the 

only aspect of the work I was willing to outsource. Roger did a great job, even though he’s 

traveling. No practicing today, either . . . 

WEDNESDAY, APRIL 17: 

Beginning to orchestrate the Agustín Lara songs medley while also editing the score/parts for the 

Agustín Lara waltzes medley . . . ran off to play a two-hour cocktail hour at the offices of Carolina 

Herrera, with my old friend, accordionist and vocalist Nicole Renaud, and violinist Alexandre 

Tseytlin. Wonderful musicians on hand, but no surprises here—same old cocktail hours as all the 

others, no matter how many celebrity fashionistas show up. They loved us. It’s work. It pays. 

Dinner = Chipotle, down the block. 

THURSDAY, APRIL 18: 

More orchestrating for Mexico and also attended an orientation session at the School for Strings, a 

three-hour indoctrination about discipline and repetition. Still not sure if we want to send Benjy to 

study there—and am very curious about the Mark O’Connor Method. No face time with viola 

today. 


This diary’s second weekend begins—“I really should be practicing,” the book says—but of course, 

I’m monitoring twitter feeds for Boston marathon shooting news. Wrote a blog post about bicycling 


54

with instruments, a companion to a Strings Magazine feature in which they interviewed me and a 

few others. (Did you know, Ben Sollee *bikes* with a *cello*?) 

My filmmaker warned me that she’s asking other composers to write demos for the film that she 

had asked me to score, because my availability for the next two weeks is so scarce and because I 

didn’t do anything on her film for a few months. Trying to salvage the situation, I took a few hours 

to write a two-minute cue, which I hope she’ll like. If she doesn’t, at least I’ll be happy about 

having written a good cue and having an honest artistic disagreement. 

Later in the afternoon, I got asked by a friend to improvise a few lines for a commercial demo he’s 

working on, record them at my studio, and send them back right away, urgently. Finally, getting 

some playing done—for about twenty minutes. Silliness. 

And now rushing home to light Shabbat candles with the kids. The kids enjoy this so much. 


Hello weekend! We pack into the car and drive to my in-laws in New Jersey for a surprise visit. I 

manage to get about one hour of arranging work done while the kids are at a local playground and 

about ten minutes more on the car ride home. 

Benjy gets his first-ever violin lesson, or shall I say pre-Suzuki class, on a box violin, courtesy of 

the violinist Hilary Castle. Everyone is happy—except Yos’ka who napped very little. He convinces 

me to take him out for a long bike ride around Central Park, and I couldn’t be more pleased to 

oblige. Dinner, bath, kids asleep. 

Yos’ka and Benjy, ready to follow in their father’s footsteps 


55

At 9:30 p.m., I drive over to my studio for a meeting with Nicole Renaud, who is composing the 

score to Bill Plympton’s animated feature film Cheatin’. I’m supposed to get a drive of music I’ll 

have to record at some point in the next week—both violin and viola parts. (Violin parts will be 

recorded on the fadolín.) Somewhere there must be three hours to record, to get started—but I can’t 

do it now, as it’s too late at night; the neighbors will complain. 

I stay in the studio for a late night of arranging, determined to make major headway with the 

Agustín Lara songs medley, hoping to write out all of the string parts . . . 

I’m not as worried about the arranging work as I am about learning the viola part for David Bruce’s 

piece Steampunk, which we’re also playing in San Diego and which looks pretty gnarly. 


Morning bike ride with Yos’ka in Central Park. Perfect weather. Two hours of work arranging 

while he naps. In the middle of that, I get an e-mail that the new music I wrote for the animated film 

project wasn’t working, and they’ll go with another composer. This makes me happy, as I’ve tried 

my best to contribute in a way I find meaningful, and it’s not what they were looking for—an 

honest artistic disagreement. Now I can spend more time writing things I need to write, like 

woodwind quintets. 


Speaking of woodwind quintets, I am biking to Queens (nine miles) this morning and will spend all 

day in Queens observing two classes at a charter school in Jackson Heights in connection with the 

quintets I’m commissioned to write, with a residency in mind. Unfortunately, it was very much an 

“inmates are running the asylum” scene here, with the teacher, effectively, having to give private 

lessons to fifteen to twenty kids at the same time, on different instruments. Kids tuning out, talking 

back, and being rude. Hard to watch, because this could easily be my kids’ school. This is seventh 

or eighth grade. 

After the return ride from Queens, had a two-hour rehearsal with bassist Andrew Roitstein, who is 

playing two shows with Ljova and the Kontraband this week and next. Andrew came very prepared, 

knew the music, fit right in . . . more arranging at night . . . home late. 


This afternoon the entire Ljova and the Kontraband (Patrick Farrell, accordion; Mathias Künzli, 

percussion, Inna Barmash, vocal; yours truly on viola and fadolín) rehearses with Andrew Roitstein. 

In the early days of the Kontraband, rehearsals used to take at least three to four hours; seven years 

later, we manage to run down a set and learn a new tune in two and a half hours. 

More arranging for Mexico, until 2:30 a.m., but happily got the arranging work approved within ten 

to fifteen minutes of sending the e-mail—Javier Camarena was in Switzerland, just waking up. 


56

Ljova and the Kontraband, from left to right: Mike Savino, Patrick Farrell, Inna Barmash, Lev 

“Ljova” Zhurbin, and Mathias Künzli (photo courtesy of Anna Rozenblat) 

WEDNESDAY, APRIL 24: 

Ljova and the Kontraband concert in Weehawken, NJ . . . big success . . . Andrew did great. 

Afterward, a few hours recording for Nicole Renaud’s Cheatin’ score after the concert in my studio, 

engineering myself. Nicole wrote some great tunes for this film. 

Finish proofreading parts and scores for Mexican projects . . . laundry . . . another very late night. 

I’ve barely seen the kids since the weekend, and we’re about to leave town for five days in 

California. 

THURSDAY, APRIL 25: 

Surprise! More gigs—early morning performance at the United Nations with “Oh Land,” a singersongwriter 

from Denmark, now living in Williamsburg. Rounding out the string quartet were 

violinists Hilary Castle (Benjy’s violin teacher!) and Melissa Tong, with Gil Selinger on cello. 

Quick and easy job—once through the song at soundcheck and once at the show. We were there to 

help celebrate the reopening of the Trusteeship Council, which has been renovated with Danish 

furniture. Hence the Danish connection. 

Picking up a parve (a.k.a. vegan) challah from Eli’s, for our friends Ronen and Yael Landa, who 

live in Los Angeles. We’ll see them tomorrow. 


57

In the afternoon, more recording for Nicole Renaud’s film score, then a rehearsal with a couple of 

Ethel quartet alumni, Jennifer Choi and Cornelius Dufallo and cellist Alex Waterman, for a concert 

we’re playing on May 9 at Roulette with saxophonist/clarinetist/composer Marty Ehrlich. It is so 

therapeutic to have a rehearsal for a project two weeks away when you’re sweating bullets on 

something for tomorrow. 

Ljova conducting the score to Penny Dreadful, a short film by Shane Atkinson, as part of the 

ASCAP/Columbia University Film Scoring Workshop (photo courtesy of Rob Cristiano) 

Biking everywhere . . . packing for Los Angeles/San Diego/Brooklyn . . . will be gone for almost a 

week . . . never enough time to kiss the kids enough, never enough . . . 


My wife and I have made it to Los Angeles, a one-day layover on our way to San Diego. Reworked 

an arrangement for Madeleine Peyroux on the plane—the third or fourth rewrite of Dance Me to the 

End of Love for a project premiering in Toronto in a month, a collaboration with the Art of Time 

Ensemble. Hopefully this will stick. Among other arrangers involved in this show is Gavin Bryars. 

Rented a car (free upgrade to a convertible!); drove to meet a film agent—didn’t tell them that I was 

let go from a film score that was temped with my own music. Talked about vinyl records instead. 

Shabbat dinner with Ronen and Yael Landa, who’ve moved to LA recently with a newborn baby. 

They’re adjusting beautifully, though not without struggles of their own. 


Breakfast with Adam Baer, freelance journalist and former New Yorker, who extols the beauty of 

Griffith Park. We drive through it, take pictures from a vista with the “Hollywood” sign. 


58

Drive down to San Diego in our rented convertible, with the top down, of course—windy but feels 

somewhat like cycling. I think about how we’ll approach rehearsing the song cycle, which 

movement to start with; think about how I haven’t had any minute to practice the viola part for 

David Bruce’s piece, Steampunk. 

Rehearsal begins—I mostly fake the hard parts of David’s piece, but few people notice—or perhaps 

everyone does. They flew me from New York, and I didn’t have a chance to practice. 

Rehearsal for my piece goes so-so—arguably, my music is more difficult than David’s, as his is 

more mechanical—in my piece, the time signatures keep changing and it’s often rubato, without 

conductor. I try to encourage the proceedings, not to be too critical . . . and things gradually 

improve. After the rehearsal, Inna (the vocal soloist, my wife) and I spend a few hours at the house 

of Deb Pate and Jack Forrest, where I accompany Inna at the piano for an hour or two. 

Here we also meet Thomas Turner, Principal Violist of the Minnesota Orchestra, who is here as 

Acting Principal Violist of San Diego Symphony, because Minnesota Orchestra has been on strike 

for the entire season. This is a heartbreaking story, unbelievably powerful for all the wrong reasons, 

profoundly sad. But it’s good to see Tom working. 


Early rehearsal (9:00 a.m.) for Songs of Bert Meyers, and things go much better. Considerable 

improvement; everyone feels more comfortable. It’s coming together. 

Spent the afternoon finally doing some shedding on Steampunk and also practicing the song cycle 

with Inna, for which I attempt to reduce the ensemble parts to an accompaniment for my fadolín. 

Then more shopping at vintage stores in the Hillcrest section of San Diego, where we also found 

two bookstores on the same block—where does that ever happen anymore?!—and two stores that 

specialize in vinyl records, also within the space of three blocks—this is my kind of town!! 


Getting a haircut—in the back of a nail salon—old pros here. 

Walked to the concert venue, San Diego Museum of Art, and back, about a mile each way—people 

thought we were crazy or homeless, especially with me lugging that semiautomatic thing known as 

a violin/viola double case. 

Rehearsal at the museum—things are really coming together, but the room is very boomy . . . we’re 

requesting a PA system for the concert so that Inna can be better heard. 

Dinner with Demarre McGill (one of the founders of Art of Élan) at Pomegranate, an amazing 

Georgian restaurant in San Diego. We autographed the wall—see if you can find it. 



59

Morning field trip to La Jolla Cove, an incredibly magnetic vista in San Diego, a frequent stop for 

seals, a wildlife refuge. I sat there trying to compose something inspired by the perfection of this 

morning but couldn’t get my mind off of my grandfather, Lev Ginzburg’s, book—The Abyss— 

about the aftermath of World War II. 

Back at the San Diego Art Museum for a dress rehearsal . . . the PA arrives, and you can hear the 

vocal unburied. I make a few more changes to the song cycle, and . . . 

the premiere is a big standing-ovation-type success. Everyone’s thrilled. Listen to it here. All of my 

practicing on David Bruce’s Steampunk yielded good results, except for the one or two passages 

that even David himself admits are “basically not playable.” 

After the concert, I had a conversation with an older composer, a professor of composition, who 

congratulated me and, at the same time, spoke of his inability to write music in recent decades, 

because he was an “academic composer,” someone who grew up listening to popular music but 

wrote things in a more “academic” direction. I tried to encourage him to seek out performers for his 

music and said that I would be very excited to hear it, perform it, but he grew even more shy . . . 

WEDNESDAY, MAY 1: 

The morning starts at 3:22 a.m., preparing for our 6:30 a.m. flight back to New York. Returning our 

rental convertible, shuttling to the airport, a very painless frisking by the TSA, and gratefully 

nobody bothers me about my instruments being too big to fit in the carryon bins. 

Back in New York a few hours later, squeezing in a quick round of Georgian appetizers at 

Pirosmani, a Georgian restaurant in Brooklyn, before heading to a soundcheck with Ljova and the 

Kontraband and our double-bill with Brooklyn Rider at Littlefield. 

Brooklyn Rider is an amazing, out of this world jaw-dropping-brilliant string quartet. My cousin, 

Johnny Gandelsman, is one of the violinists along with Colin Jacobsen. Colin’s brother, Eric, plays 

the cello, and Nicholas Cords is on the viola. It’s very much a family, and the composers they often 

work with are parts of their extended family . . . not only did they commission a string quartet from 

me, Culai, but they recorded it for their “major label” debut and asked my band to open for them at 

their New York CD-release party. 

I’m nervous about Brooklyn Rider signing a “record deal” with a “major label.” Having released 

four records under my own label, a deal with a “major” makes little sense to me—but it’s not my 

call, I’m just the composer. 

As we arrive to Littlefield for a soundcheck, we see that Brooklyn Rider is on stage playing my 

piece, as part of a video shoot. There’s a mountain of energy on stage. Jody Elff, who does live 

sound for the Silk Road Ensemble and Meredith Monk, is at the controls. 


60

Ljova and the Kontraband performing with Brooklyn Rider on May 1, 2013 

We soundcheck the Kontraband and try two tunes together with Brooklyn Rider—the inextinguishable 

Plume and the Russian Gypsy standard I Want to Love as two encores to close out the show. 

Everything goes beautifully. My wife and I are slightly woozy from the day’s travel and the 

previous weeks of madness—but we also feel very accomplished. 

Since we came by car, after the concert we drive home two violists—Mattie Kaiser, director of 

Classical Revolution PDX and a recent transplant to New York from Portland and Elizabeth 

Weinfield, a violist whose primary concentration these days is early music and leading the ensemble 

Sonnambula. 

SOME WEEKS LATER: 

It’s easy to say that the past few weeks “were a blur”—in fact, it felt more like traversing a matrix 

of deadlines, responsibilities, juggling creative tasks while maximizing time with family, learning 

the more technical issues of a challenging viola part, fleshing out orchestration, preparing parts, and 

recording. It’s been an amazing honor to work with all of these amazing souls, musicians, and 

administrators. I am so fortunate to be entrusted with so much responsibility for creating new work, 

to have a singing wife and an understanding family, to have the possibility to speak and dream 

through a viola, and to have so many different projects inspire and nurture each other. 

Thank you for reading! 


61

Hailed by the New York Times as “dizzyingly versatile . . . an eclectic with an ear for texture . . . 

strikingly original and soulful,” LJOVA (Lev Zhurbin) was born in 1978 in Moscow, Russia, and 

moved to New York with his parents, composer Alexander Zhurbin and writer Irena Ginzburg, in 

1990. He divides his time between performing as a violist in diverse groups ranging from his own, 

LJOVA AND THE KONTRABAND, to string quartets, jazz combos, and Gypsy bands; arranging 

music for Yo-Yo Ma, the Kronos Quartet, Gustavo Santaolalla, Osvaldo Golijov, Alondra de la 

Parra, and others; and composing original music for film, TV, dance, and the concert stage. Recent 

commissions have included projects with the string quartet Brooklyn Rider, choreographer Aszure 

Barton, and filmmaker Josef Astor. 

Poster from the film Cupcake, with original music by Ljova 


62

Strike a chord. 

Experience conservatory-level training in a liberal 

arts environment at Chapman University 

Consistently ranked among the best American music schools, we offer 

quality programs with dedicated faculty, world-class student ensembles, 

and state-of-the-art facilities. 

Offering Bachelor of Music degrees in Music Performance, Music 

Education, and Composition. Talent awards, academic scholarships, 

and financial aid assistance available. 

Chapman University 

Strings Department 

Robert Becker, Director of String Studies; 

William Fitzpatrick, Violin; Bridget Dolkas, Violin; 

Jacob Braun, Cello; David Black, Bass 

For more information about scholarships and 

audition dates, please call: 714-997-6871 

or visit our website: www.chapman.edu/music 

Accredited institutional member 

of the National Association of 

Schools of Music

y Tom Tatton 

With Viola in Hand 

A Gentleman and a Scholar: 

An Interview with Tom Hall, Part I 

Tom Hall, at left, coaches two of his students at Chapman College on Bach’s Brandenburg 

Concerto No. 6 in 1979 

Background/Education 

It is my pleasure to visit with Dr. Thomas Hall, 

Professor Emeritus of viola, music history, and 

theory at Chapman University in Orange, 

California. Dr. Hall is a reserved, rather tall 

gentleman with rosy cheeks, a broad smile, and 

a wonderfully keen sense of humor. 

It is said that an artist is a person who does 

something extremely well with imagination, 

taste, style, and feeling. Tom fits the essence of 

this definition in at least four broad categories— 

viola performance, pedagogy, writing, and 

administration. His performances of Harold in 

Italy and Flos Campi, as well as his place in the 

Chapman Chamber Players, are legendary in 

Southern California. His teaching acumen, in 

both the studio and the classroom, is well 

known on the West Coast. His writing sparkles 

with wit and common sense, and in leadership, 

as Chair of the Department of Music, he was 

enormously successful! 

TT: Tom, let me begin this interview by 

asking how you came to the viola. Many 

violists have an interesting story; please tell 

us yours. 


64

TH: Altadena, California, was a fine place to 

grow up in the 1940s. Nestled in the foothills of 

the San Gabriel Mountains, it lies fourteen miles 

due north of downtown Los Angeles—sitting 

just above Pasadena. This economically and 

ethnically diverse community encompassed very 

wealthy neighborhoods and some much less so. 

Zane Gray, the famous writer of the Old West 

and a resident of Altadena from 1920 until his 

death in 1939, said, “In Altadena I have found 

those qualities that make life worth living.” 

Other, somewhat less public but nevertheless 

philanthropic, “artsy,” and scientific personalities 

populated Altadena. At the time I had no 

notion of the nature of the personality of the 

community nor how fortunate I was to grow up 

among those who were and who were about to 

become so distinguished. 

The leading violin teacher in the community 

was Vera Barstow, and I had the distinct 

privilege of studying with her during most of 

my junior high, high school, and college career. 

Richard Lert conducted the Pasadena Civic 

Orchestra, and Vera was the “string coach.” I 

was a good, young violinist, member of the 

civic orchestra, and doing well with the standard 

student-type violin literature, but I was not at 

the top of the class by any means. The youthful 

musicians I mingled with did well in the World 

Federation of International Competition, the 

Naumburg Competition, and the like and 

eventually filled the ranks of the Los Angeles 

Philharmonic, the Boston Symphony Orchestra, 

and others. I was not one of those wonderful 

players, and I really did not want to be. 

One of Vera Barstow’s passions was The 

Coleman Chamber Music Competition, and as I 

approached my senior year in high school, she 

needed a violist for a Coleman ensemble. I was 

the right size and, as she thought, the right temperament. 

I learned the clef in a flash, relished 

the inner-voice function, and I loved the sound. 

I moved to the viola section of the orchestra and 

have been kept busy as a violist ever since. I 

auditioned for entrance to the University of 

Southern California (USC) with the Brahms E- 

flat Sonata! 

Vera Barstow (courtesy of Skinner, 

www.skinnerinc.com) 

TT: Tom, I would like to follow up on Vera 

Barstow, if you don’t mind. She was, in her 

early career, a pioneering violin soloist. I can 

think of just a couple of other women (Maude 

Powell (1867–1920), for one) making their 

way in what could only be described as a 

gentleman’s profession. Later she became a 

celebrated pedagogue, especially well known 

in southern California. She touched and 

guided countless youthful musicians who are 

now beginning to retire but filled the 

professional orchestras around the country 

and beyond, sat in professional string 

quartets, and served in college and university 

studios. What is it about her teaching 

methods and approach that made her so 

successful as a teacher? 


65

TH: I know of two, or maybe three, who wrote 

or tried to put on paper a true review of “The 

Vera Barstow Method.” I don’t think it appropriate 

to try to do that again here. But I can 

generalize a bit about my memories as her 

student. Vera was an elegant, diminutive 

woman, always mature, but never old. Her 

personality dominated all around her and was 

the contributing factor in her success as a 

pedagogue. She had a complete command of the 

techniques and mechanics of playing, knowledge 

of the teaching materials, and the processes 

necessary to develop those skills. Her presence 

was the strong influence that so many of us felt. 

Her personality was pleasant but direct; open 

disagreement with her was not an option for 

anyone, on any subject. 

Most of her teaching was done at home, in a 

well-established affluent Pasadena neighborhood, 

although zoning restrictions made her 

move to a nearby studio or to USC in later 

years. Often as not she had students constantly 

around her . . . living with her and going to 

concerts with her. She would listen to scale 

practice before school and give lessons or life 

advice at any mutually agreed upon time. Fifty 

students was a workable load, but every so often 

the number had to be reduced. Most of her 

students were young, but many were adult . . . 

musicians looking for playing jobs—orchestra 

or recording studio; some were amateurs. I 

remember one physician who had bought a 

Stradivari violin and wanted to learn how to 

play it. Vera’s lesson fees were always 

something of a mystery. 

Lesson procedure was almost invariable. She 

would sit in an overstuffed chair and listen— 

with varying degrees of attention—to a student, 

who was standing at a music stand fifteen or 

twenty feet away, play material that had been 

assigned a week earlier. She rarely demonstrated 

on an instrument herself . . . lessons 

were a verbal experience. I cannot remember 

her demonstrating on an instrument of her own. 

But when she did demonstrate, it was always on 

the student’s own instrument, and it was always 

faultless. She was one of those people who did 

not need to practice to maintain a reliable 

technique. “Modern” literature was never her 

concern, but she had an infallible taste in 

musical elocution, which was founded in 

common sense or musical tradition. Although 

primarily a violinist, she always had some viola 

students, and at one point, later in life, when she 

decided to do some performing, she chose the 

viola, in a chamber ensemble. 

TT: We now have you as a confirmed and 

committed violist. You went on to USC, 

where you continued your work with Vera 

Barstow and then on to Sanford Schoenbach 

(Principal of the Los Angeles Philharmonic) 

and Milton Thomas, both known nationally 

and internationally as performers and 

teachers. Can you tell us a little about the 

magical influence of Schoenbach and Thomas 

on your playing? 

TH: Going on to more advanced viola studies, I 

did my master’s degree in viola at USC with 

Vera Barstow—my bachelor’s is in music 

history. Before my doctoral work with 

Schoenbach and Thomas, I spent the summer of 

1963 at the Eastman School of Music, studying 

with Francis Tursi. I was shopping for a place to 

do my doctoral work. 

TT: Before we return to your doctoral work 

at USC, tell us something about your 

experience with Francis Tursi, an iconic 

figure in American viola pedagogy. 

TH: St. Francis was a wonderful experience, as 

a model player, as a person, as a musician. He 

encouraged me to look beyond exercise and 

practice to improve playing. He had a spiritual 

effect on my attitude toward sound production 

on the viola. I would spend unhurried minutes 

playing open strings or single notes for him, just 

listening to the sound or its effect on the 


66

surrounding environs. One sweltering summer 

day after an afternoon rain shower, I went for a 

lesson. The studio light was off . . . no sound 

from within. I knocked and heard a mumble, so 

I cautiously opened the door and saw St. Francis 

with his head down on his desk, as though 

taking a nap. Embarrassed, I made excuses for 

bothering him, which he immediately put down, 

saying everything was fine. He was just looking 

at this drop of water that had landed on his desk 

from the open window during the shower. He 

was thinking about that drop of water. I’m not 

sure what effect this kind of thinking did for my 

playing, but it certainly broadened my approach. 

I heard Tursi play quite a bit that summer, and it 

gave me a new appreciation for size and beauty 

of sound and the idea of relaxation while 

performing. 

Back at USC, Sanford Schoenbach was the 

long-time Principal of the Los Angeles 

Philharmonic and equally long-time professor of 

viola at USC. I wanted to do my doctoral work 

with him and started to do so, but his health was 

such that I had only a few lessons with him 

before his death. I do thank him for getting me 

to study the really difficult études, like Dont 

Opus 36 and 37 and the Hermann Concert 

Études. This was the opposite of what I learned 

from Francis Tursi but really valuable. My 

doctoral tutor was Milton Thomas, with whom I 

studied off and on for a year and a half, literally 

all in preparation for my doctoral recitals. He 

was a wonderful player, but I was his first doctoral 

candidate as he took over for Schoenbach. 

His note-by-note, finger-by-finger approach to 

teaching, I’m told, grew less specific later in his 

teaching career. The lessons were tedious but 

fruitful; gossipy and fun afterward. My doctoral 

recitals passed without a hitch. 

Milton Thomas 


67

Career-Chapman 

TT: Tom, I have heard you play, and you are 

a truly gifted violist. All the more remarkable 

when considered in the light of your varied 

responsibilities and stellar career in teaching, 

administration, and writing. I would like to 

separate your performance career into two 

broad areas: your performance responsibilities 

and activities at Chapman University 

and your tenure with the Carmel Bach 

Festival. Let’s start with your performance 

responsibilities and activities at Chapman 

University. 

TH: Chapman, which is thirty miles south of 

downtown Los Angeles, was founded as 

Hesperian College in 1861; it changed its name 

to Chapman College in 1934 and to Chapman 

University in 1991. I was hired in 1968, when 

the on-campus student population was well 

under one thousand. There were many offcampus 

programs, like the World Campus 

Afloat, and extensive offerings at military bases. 

Currently, Chapman Orange campus enrollment 

is just over seven thousand full-time undergrads, 

not counting a separate off-campus but affiliated 

school named Brandman University. 

When I joined the Chapman College faculty, 

the Music Department had eighteen 

undergraduate music majors, two full-time 

music professors (choral director, department 

head/theory-composition), a religion/music 

cross-appointment (Chapman has a Christian 

religious affiliation), and two part-time (but 

really full-time) adjunct professors (voice and 

piano). A third full-time professor who taught 

music history had just left, and I was the 

replacement. However, there was a Chapman 

Chamber Players ensemble, financed by a 

musicians’ union “trust fund” arrangement, 

strictly participant-grown, not college 

sponsored. The violinist was Giora Bernstein 

(former Boston Symphony Orchestra violinist), 

who taught at nearby Pomona College (1967– 

75); Norman Thompson, who was the parttime/full-time 

pianist on the Chapman faculty, 

and a local cellist who played in the Orange 

County Philharmonic. This became the piano 

quartet when I arrived, and, with a variable 

violin and cello faculty, it was the backbone of 

The Chapman Chamber Players for a long time. 

The chamber players idea was a complete 

natural for this small, heavily vocal (choir) 

music department. Over the years, using the 

expanded applied faculty, we gave a different 

program on campus each semester as part of our 

academic responsibility. We also went to high 

schools and other venues letting people (high 

school music teachers and students) know 

Chapman existed and performing wherever it 

could be arranged. We often gave vivid illustrations 

in music classes, played at the student 

union, etc. The chamber players was a very 

effective outreach tool. We were also effective 

within the faculty, as we liked to involve different 

musicians to expand exposure to different 

literature, and the faculty was eager to help. So, 

we played, for example, the Schubert “Trout” 

Quintet; Turina’s Il Tromento, for strings and 

contralto; a lot of clarinet chamber music with 

George Waln, the famous Oberlin clarinetist, 

who joined our faculty in “retirement”; and a 

host of other faculty favorites. 


68

Brochure from the 1970–71 Chapman Chamber Players season 


69

The flexible personnel did not detract from a 

certain stability; there was always a violist, and 

then there were really two violinists who were 

on the faculty for ten or more years: Mischa 

Lefkowitz (long-time Los Angeles Philharmonic 

first violinist) and David Margetts, who now 

makes his home in Provo, Utah. The cellist for 

many years was Marjory Enix. The Chapman 

Chamber Players failed to achieve financial 

support after 1996, which gave us a twentyeight-plus-year 

career, on campus and off, 

presenting two different programs a year, 

mostly traditional chamber music repertory; 

some not so traditional with multiple benefits to 

students, faculty, campus, and community. 

TT: Tell us about William Hall and John 

Koshak, your teaching colleagues at 

Chapman, who were often described in 

California as the “Face of Chapman.” 

TH: The choral conductor at Chapman for many 

years was William Hall. He had many “careers,” 

and I have been involved slightly in just a few. 

Not blood related, he is months younger than I, 

and he was at Chapman when I arrived. He was 

doing a great deal of church music, which put us 

on opposite poles. Bill’s strictly non-Chapman 

William Hall Chorale did major concerts of big 

choral-orchestra works like Britten’s War 

Requiem and the Beethoven Missa Solemnis in 

and around the greater Los Angeles area—big 

churches mainly. When I joined the Chapman 

faculty, he made a serious effort to include me 

in the orchestras for these performances, which 

were frequent and frequently spectacular. I 

always thought I was included with reluctance 

on the part of contractors as I was never a part 

of the Los Angeles commercial player scene. 

No matter how involved Bill Hall was with 

professional choral music and other enterprises, 

he always put his Chapman responsibilities first. 

He liked to do big choral-orchestra literature at 

Chapman too. Flos Campi was a natural; one 

January we performed the Vaughan Williams 

multiple times on tour, although it was difficult 

to coordinate those forces for an effective recruiting 

trip. Bill Hall, Chapman College, and 

an oboist friend (Dr. Donald Leake, my college 

roommate, prominent surgeon, and UCLA 

Professor of Surgery, who also commissioned 

Darius Milhaud’s Stanford Serenade, for oboe 

and the Stanford orchestra) cooperated in 

commissioning three good-sized works for 

oboe: Double Concerto for Oboe, Viola, and 

Strings by Alice Parker; Four Songs (Love Song 

Cycle), a set of songs featuring oboe and choir 

by Robert Linn; and a bigger work for oboe, 

orchestra, and choir by Mark Volkert (Concerto 

for Oboe, String Orchestra, and Chamber 

Choir). 

Speaking of recruiting, the Chapman director of 

instrumental activities during Chapman’s 

developmental years was John Koshak. He 

enjoyed great energy and skill in many areas of 

constructive importance to the school, but 

professionally we had little interaction, with the 

exception of the Harold in Italy performances. I 

never saw a better orchestra conductor who 

excelled especially in working with high school 

honor orchestras; John’s statewide and national 

prominence in music education and instrumental 

conducting was greatly helpful in developing 

our music department. His student recruiting 

and retention was remarkable, and I especially 

admired his ability to prepare average talent for 

above average accomplishments! 


70

Program from an April 27, 1969, performance of Vaughan Williams’s Flos Campi by Tom Hall 

TT: How about your studio teaching? I 

know from experience that a viola class is 

considerably different at a small/mediumsized 

liberal arts college than it is at a large 

conservatory! This is so important for 

aspiring college/university/conservatory 

teachers to understand. 

TH: Over the years, I had an average of eight 

private students in any given semester. These 

included music majors with viola as their main 

performance medium and a senior recital as a 

graduation requirement. My viola students had 

various reasons for taking lessons, and I always 

was careful to understand why they were with 

me, why they were spending money, time, and 

effort to be a viola student. Some were in the 

orchestra and lessons were a requirement for 

participation. Others were expanding on previous 

viola experiences or satisfying general 

education requirements in humanities. Many 

were violinists expanding their horizons or 

conductors coming to grips with the mystery 

clef. At any rate, I tried to tailor the lesson 

experience to the student’s expectations and 

level of viola background. Without exception, 

though, there was always a weekly practice 

assignment consisting of scale study, technical 

or physical expansion, and literature preparation. 

I liked to play (often duets) in lessons in 

order to give young players an idea of what kind 

of tone quality was possible and available. 

Emphasis in these areas varied with the student. 

I used viola literature guides, especially the 

Canadian string syllabus, for counsel about 

appropriate levels of difficulty. The Canadian 


71

syllabus was generally in line with my own 

experience and judgment, and its recommended 

literature and editions were usually current and 

available. 

Recently, there has been occasion to count 

Chapman music alumni who have earned 

doctorates. I was astonished to discover seven 

individuals whom I consider “my students” by 

virtue of extended work with me: one MD (he 

married another of my violist students), one 

musicologist, one psychologist (he actually gave 

a formal viola recital), three DMAs in viola 

(two with William Majors (1934–2011)—the 

great teacher at Arizona State University—and 

one with Donald McInnes, who teaches at 

USC). 

TT: A measure of pride is not only natural 

but also healthy! Let’s move on to some 

details that readers may not know: you 

served as Chair for the Chapman Department 

of Music from 1974–83 and 1990–91. 

During your tenure, Chapman became a 

“first choice” college for youthful California 

musicians who were looking for a school of 

music. The music school’s student enrollment 

quadrupled, with an appropriate increase in 

faculty. Chapman attained membership in 

NASM (quite a feat and important for national 

recognition and reputation), and you 

were instrumental in the design and 

completion of two major music facilities. 

Many would run, perhaps flee, from that 

responsibility, but you took it on. Tell us a 

little about your background that prepared 

you to even consider such a challenge. 

TH: At the USC School of Music, long ago, 

doctoral candidates needed to select a field of 

concentration for examination that was not 

musical. As it seemed I might work in that field, 

I chose “higher education.” An obscure 

catalogue entry was “Administration of College 

Music (offered as needed)”; inquiries yielded 

that the class had not been offered for some 

time, and I would be the only student. Professor 

Brandon Mehrle, Associate Dean of Students, 

was the instructor; a busy, busy man. He was 

pleased to offer the class, and he said it would 

be fun but it would take a tremendous amount of 

my time, seeing that it was to be essentially selftaught. 

Further, we would need to meet only a 

few times during the school year. My 

assignment was to build a music school on 

paper covering every possible facet, large or 

small, of a functioning, prospering music 

school. I would choose everything: affiliation, 

size, students, budget, faculty, location, 

recruiting, facilities, accreditation, programs, 

etc., etc. He handed me a National Association 

of Schools of Music Handbook, suggested I 

acquire bulletins of some successful music 

schools, and said, “I’ll see you in two weeks, 

with a good, healthy start.” I enjoyed access to 

the complete office and personnel files or 

records of the USC School of Music. I learned a 

great deal from reviewing those files, not the 

least that academic correspondence can be 

gracious, elegant, efficient, and often funny. 

I had just begun teaching at Chapman when I 

took this class at the end of my doctoral studies, 

and I came away from the class with a model of 

the Chapman College Music Department with 

the many problems and possibilities examined 

but guided by an experienced hand! Of course, 

the model didn’t work exactly as planned, but it 

sure helped, especially in accreditation and state 

teacher requirements. Over the years at 

Chapman, decisions were made and directions 

taken that perhaps were more goal-directed than 

arbitrary or outer-directed; perhaps less buffeted 

by outsiders, especially concerning curriculum 

and budget priorities that were aided and 

nurtured by my positive experience with 

Professor Brandon Mehrle. 

Readers can look for part two of this interview 

in the Fall 2013 issue of JAVS. 


72

Summer 2013 - The American Viola Society

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